i 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 


GIFT  OF 

Estate  of 
Ernst  and  Eleanor 
van  Ltfben  Sels 


A  COMPANION  VOLUME 


Tie  American  Girl's  Handy  Boot 


NEW  EDITION. 


1  Vol.    Cloth.    Price,  $2.OO. 

WITH   NUMEROUS  ILLUSTRATIONS  FROM. 
DRAWINGS  BY  THE  AUTHOR. 


V 


How  to 
Amuse 

\burself 
and 

Others 


Charles    , 
-   Scribnetfs 
^  Sons 

^§93  > 


BY 

Lina  Beard 
and 

Adelia  BJBear 


COPYRIGHT  BY 

CHARLES  SCRIBNER'S  SONS 
1887 


EDJJC.. 
PSYCH. 
LIBRARY 


GIFT 


EDUO- 

PSYCH. 

LIBRARV 


PREFACE. 


"  I  DO  wish  some  one  would  write  a  book  like  that  for 
girls,"  is  the  remark  we  have  frequently  heard  When  a  new 
book  of  sports  for  boys  has  made  its  appearance  ;  but  it  was 
not  until  the  publication  of  the  "  American  Boy's  Handy 
Book  "  that  it  occurred  to  us  to  write  a  book  for  the  Ameri- 
can boy's  neglected  sisters,  which  should  be  equally  original 
and  practical. 

In  the  "  Girl's  Handy  Book,"  which  it  has  been  our  en- 
deavor to  make  peculiarly  American,  we  have  sought  to  intro- 
duce original  and  novel  ideas,  and  by  their  aid  to  open  new 
avenues  of  enterprise  and  enjoyment. 

One  of  our  objects  is  to  impress  upon  the  minds  of  the 
girls  the  fact  that  they  all  possess  talent  and  ability  to  achieve 
more  than  they  suppose  possible,  and  we  would  encourage  a 
belief  in  the  truth  of  the  remark  said  to  have  been  made  by 
a  famous  Frenchman  :  "  When  you  Americans  undertake  any- 
thing you  never  stop  to  ascertain  if  it  be  possible,  you  simply 
do  it." 

We  desire  also  to  help  awaken  the  inventive  faculty,  usually 
uncultivated  in  girls,  and,  by  giving  detailed  methods  of  new 
work  and  amusements,  to  put  them  on  the  road  which  they 
can  travel  and  explore  alone. 

286 


iv  Preface. 


We  know  well  the  feeling  of  hopelessness  which  accompanies 
vague  directions,  and,  to  make  our  explanations  plain  and  lucid, 
we  have  ourselves,  with  very  few  exceptions,  made  all  of  the 
articles,  played  the  games,  and  solved  the  problems  described. 

The  materials  employed  in  the  construction  of  the  various 
articles  are  within  easy  reach  of  all,  and  the  outlay,  in  most 
cases,  little  or  nothing. 

We  scarcely  deem  it  necessary  to  point  out  the  fact  that  in 
supplying  healthy,  sensible  work  and  amusement  for  leisure 
hours,  employment  is  given  whose  whole  tendency  is  to  refine 
the  tastes  and  ambitions  of  our  American  girls. 

A  few  of  our  chapters  are  taken  from  articles  which  were 
written  by  us  for,  and  published  by,  the  Youth's  Companion, 
St.  Nicholas,  Harper's  Young  People,  Golden  Days,  and  Wide 
Awake. 


CONTENTS. 


PAGE 

PREFACE iii 

SPRING. 

CHAPTER    I. 
FIRST  OF  APRIL 3 

First  of  April  Party,  5  ;  Mirror  Tableau,  6  ;  Noah's  Ark  Peep-show,  8  ; 
The  Supper,  10. 

CHAPTER   II. 
WILD  FLOWERS  AND  THEIR  PRESERVATION 13 

Transplanting  Wild  Flowers,  14  ;  Cut  Wild  Flowers,  15  ;  Sending  Flow- 
ers by  Mail,  15  ;  Preserved  Flowers,  16  ;  Pressed  Flowers  and  Leaves, 

18  ;    Leaves  and  Ferns  for  Decoration,  19  ;    Color  of  Flowers  Changed, 

19  :    Natural  Wax  Flowers,  20  ;    To  Freshen  Cut  Flowers,  20  ;    Crystal- 
lized Flowers,  21  ;  How  to  Preserve  the  Perfume  of  Flowers,  21  ;  Spring 
P'lowers  in  Winter,  23  ;    The  Four-leaved  Clover,  23  ;    Several  Methods 
of  Preserving  Flowers,  24, 

CHAPTER   III. 

THE  WALKING  CLUB 27 

Rules  to  be  Observed,  31. 

CHAPTER   IV. 
EASTER 33 

Easter  Customs  in  Other  Lands,  33  ;  Easter  Egg  Games,  36  ;  Easter  Egg 
Dolls,  39  ;  Humpty  Dumpty,  42  ;  Miss  Roily-poly,  45  ;  Mandolin,  47  ; 
Maple-wax  Easter  Eggs,  49  ;  Bonbon  Box,  49  ;  Easter  Cards,  50  ;  Lit- 
tle Quakeress,  52. 


vi  Contents. 


CHAPTER  V. 

PAGB 

How  TO  MAKE  A  LAWN-TENNIS   NET 55 

Rules  for  Lawn-Tennis,  63. 

CHAPTER  VI. 
MAY-DAY.. 71 

May-day  Sports,  72 ;    How  to  Make  May-baskets,  74  ;    May-day  Combat, 
75  ;  The  May-pole,  77  ;  May-pole  Dance,  79. 


SUMMER. 


CHAPTER  VII. 
MIDSUMMER  EVE 83 

The  New  Fern-leaf  Game,  85  ;  Fortune-telling  :  The  Plaintain  Test,  86  ; 
Fortune's  Wheel,  88. 

CHAPTER  VIII. 
SEA-SIDE  COTTAGE  DECORATION 91 

Window  Decorations,  92  ;  Row-boat  Book-shelves,  95  ;  Crab-net  Work- 
basket,  96;  Hat-rack,  98;  Marine  Screen,  99;  Horseshoe-crab  Bag, 
102  ;  Sea-urchin  Vase  and  Candlestick,  102  ;  How  to  Dry  Starfish  and 
to  Polish  Shells,  104. 

CHAPTER  IX. 
A  GIRL'S  FOURTH  OF  JULY 105 

Interior  Decoration,  107  ;  In-door  Illumination,  108  ;  Out-of-door  Decora- 
tion, 109;  Fireworks,  in  ;  Parachute,  112;  Thunderbolts,  112;  Whirls, 
and  Winged  Fancies,  113;  Pin-wheels,  114;  Bombs,  115;  Declaration 
of  Independence,  117  ;  Toss,  118  ;  Fourth  of  July  Jackstraws,  119  ;  Pro- 
gressive Mining,  119. 


Contents.  vii 


CHAPTER  X. 

PAGE 

PRINTING  FROM  NATURE'S  TYPES  ......................................  123 

Impression  Album,  123  ;  Winter  Landscape,  127. 

CHAPTER   XI. 
PICNICS,  BURGOOS,  AND  CORN-ROASTS  ..................................  131 

A  Burgoo,  132  ;    Burgoo  Stew,  133  ;  A  Corn-roast,  134. 

CHAPTER   XII. 


BOTANY  AS  APPLIED  TO  ART 


The  Peony  Leaf,  140  ;  A  Bunch  of  Turnips,  142  ;  Plant  Cross-section  De- 
signs, 144  ;  Flower  Sprays,  146  ;  Changing  the  Color,  146  ;  Burs,  147  ; 
The  Water-  Lily,  148. 

CHAPTER  XIII. 
DOOR-STEP  PARTY  AND  QUIET  GAMES  FOR   HOT  WEATHER  ..............  151 

Five  Minutes'  Conversation,  153  ;  Blind  Man's  Singing-school,  155  ;  A 
Game  of  Noted  Men,  155  ;  What  Will  you  Take  to  the  Picnic?  156  ; 
Assumed  Characters,  157  ;  Shadow  Verbs,  157. 

CHAPTER   XIV. 
How  TO  MAKE  A  HAMMOCK.  ..........................................   159 

Materials,  161  ;  Barrel  Hammock,  165. 

CHAPTER   XV. 

(For  Little  Girls.1* 
CORN-  HUSK  AND  FLOWER  DOLLS  ____  .........................  .  .  .  ,  .     .  .    169 

CHAPTER  XVI. 
How  TO  MAKE  A  FAN  ...........................................   .  .  .     177 

Butterfly  Fan,  178  ;  Mikado  Fan,  180  ;  Daisy  Fan,  182  ;  Cardboard  Fan, 
183- 


viii  Contents. 


AUTUMN 


CHAPTER  XVIL 

PAGE 

ALL-HALLOW-EVE 187 

Halloween  Parties,  189  ;  Melted  Lead,  190  ;  Nutshell  Boats,  192  ;  "  Three 
Luggies,"  193;  Roasting  Nuts,  193;  Kaling,  194;  The  Magic  Mirror, 
194  j  Three  Tin  Cups,  195  ;  The  Ring  Cake,  195  ;  Bobbing  for  Apples, 
196 ;  The  Ghostly  Fire,  197  ;  The  Fairy's  Gifts,  198. 


CHAPTER  XVIII. 
NATURE'S  FALL  DECORATIONS  AND  How  TO  USE  THEM 201 

Fresh  Autumn  Wild  Flowers,  202  ;  Buckeye  Portiere,  204  ;  Panel  of  Fall 
Decorations,  205  ;  Louis  Quinze  Screen,  206  ;  A  Panel  of  Field  Corn, 
209  ;  Ornamental  Gourds,  210  ;  Gourd-Dippers  and  Bowls,  211  ;  Vases, 
212  ;  Small  Decorations,  214;  Brackets,  214. 

CHAPTER  XIX. 
NUTTING-PARTIES 217 

"Little  Brown  Squirrel,"  218  ;  Rules  for  Nutting- Parties,  221. 

CHAPTER  XX. 
How  TO  MAKE  A  TELEPHONE  224 

CHAPTER  XXI. 
How  TO  DRAW 229 

CHAPTER  XXII. 
How  TO  PAINT  IN  WATER-COLORS 238 

Materials  for  Water- Color  Painting,  238  ;  Flowers,  239 ;  Landscapes,  241 ; 
Painting  from  Notes,  244. 


Contents.  ix 


CHAPTER  XXIII. 

PAOE 

How  TO   PAINT  IN   OIL-COLORS 249 

Materials,  249;   Mediums,  251;   Canvas,  2515   The  Light,  252;    Setting 
the  Palette,  253. 

CHAPTER  XXIV. 
How  TO   MODEL  IN  CLAY  AND  WAX 257 

Materials,  259  ;    How  to  Manage  Clay,  260  ;  Hints  for  Modelling  a  Head, 
262  ;    How  to  Model  in  Wax,  263  ;    Modelling- wax,  263. 


CHAPTER   XXV. 
How  TO  MAKE  PLASTER  CASTS 267 

CHAPTER  XXVL 
CHINA  PAINTING 272 

List  of  Materials,  272  ;  A  Monochrome  Painting,  278 ;  Tinting,  278  ;  New 
Method  of  Decorating  China,  279  ;  Tracing,  280  ;  Mottled  Grounds, 
281  ;  Snow  Landscape,  281  ;  How  to  Paint  a  Head  on  China,  284  ;  How 
to  Paint  a  Carp,  Sea-weed,  and  Fish-net,  on  China,  287  ;  Foliage  on 
China  made  with  a  Sponge,  289  ;  Mixing  Colors,  289  ;  Royal  Worcester 
Ware,  290. 

CHAPTER  XXVIL 
A  CHAPTER  ON  FRAMES 295 

Marine  Picture  Frame,  296  ;  Decorated  Frame,  297  ;  Frame  Covered  with 
Tin-foil,  298 ;  Cork  Frame,  299. 

CHAPTER  XXVIII. 
THANKSGIVING 302 

Impromptu  Burlesque  Tableaux,  304  ;  Landing  of  the  Pilgrims,  305  ;  First 
Harvest,  307  ;  Devastation  by  the  Indians,  308  ;  The  Revolution,  309  ; 
Slavery,  310;  Rebellion,  310;  Peace  and  Plenty,  310;  The  Game  of 
the  Headless  Turkey,  312  ;  A  Suggestion,  313. 


Contents. 


WINTER. 
CHAPTER  XXIX. 

PAGE 

CHRISTMAS  FESTIVITIES  AND  HOME-MADE  CHRISTMAS  GIFTS  .............  317 

Julklapp,  319  ;  Polish  Custom,  320  ;  The  Bran  Pie,  321  ;  The  Blind  Man's 
Stocking,  321  ;  Home-made  Christmas  Gifts,  322. 

CHAPTER  XXX. 
AMUSEMENTS  AND  GAMES  FOR  THE  CHRISTMAS  HOLIDAYS  ..............  334 

New  Game  of  Bubble  Bowling,  335  ;  Biographical  Nonsense,  339  ;    Comic 
Historic  Tableaux,  341  ;  Living  Christmas  Cards,  342. 

CHAPTER  XXXI. 
NEW  YEAR'S  AND  A  LEAP  YEAR  PARTY  ...............................  34f 

Pantomime  of  an  Enchanted  Girl,  348. 


CHAPTER   XXXII. 
HOME  GYMNASIUM  ........................  ............................  353. 

Course  of  Exercises,  356. 

CHAPTER  XXXIII. 
A  DECORATIVE  LANGUAGE  .............................................  364 

The  Field  and  the  Points  of  Heraldry,  366  ;  Divisions,  367  ;  Colors,  369  ; 
How  to  Make  a  Design  in  Decorative  Language,  371  ;  Book-plates,  377  ; 
Floral  Vocabulary,  377. 

CHAPTER  XXXIV. 

A  FEW  ITEMS  ON  OLD-FASHIONED  NEEDLEWORK,  WITH  SOME  NEW  AND 
ORIGINAL  PATTERNS  ..............................................  380 

Plain  Sewing,  380  ;  Button-holes,  383  ;  How  to  Patch,  to  Sew  on  a  But- 
ton, and  to  Mend  a  Kid  Glove,  386  ;  Fancy  Stitches,  387  ;  Drawn  Work, 
389:  Applique  and  Original  Designs  for  Portieres,  391;  Lace,  393  ; 
Ribbon  Embroideries,  393. 


Contents.  xi 


CHAPTER  XXXV. 

PAGE 

SCRAP-BOOK  AND  HOME-MADE  BOOK-COVERS 395 

Mother   Goose  Scrap-book,   395  ;    Transformation  Scrap-book,  398  ;   An 
Album,  400  ;  Home-made  Book-cover,  401. 


CHAPTER  XXXVI. 
A  HEAP  OF  RUBBISH  AND  WHAT  TO  Do  WITH  IT 403 

The  Mirror,  404  ;  The  Table,  406  ;  Lantern,  408  ;  A  Music  Roll,  410 ; 
Work-basket,  41 1  ;  Key  and  Button-hook  Rack  and  Paper  Weight,  412. 

CHAPTER  XXXVII. 

How  TO  MAKE  ATTRACTIVE  BOOTHS  AT  A  FAIR — A  NEW  KIND  OF  GRAB- 
BAG 413 

The  Tables,  413  ;  Flowers  for  Decorations,  417  ;  The  Months,  420 ; 
The  Five  Senses,  421 ;  Walls,  423  ;  Grab-bags,  423  ;  The  Lady  of  the 
Lake,  425  ;  Fortune's  Wheel,  426  ;  Rag-balls,  427. 

CHAPTER  XXXVIII. 
WINDOW  DECORATION 429 

Oriental  Window-shade,  430 ;  Ribbon-curtain,  430 ;  Drapery  of  Very 
Small  Scraps,  431  ;  Painting  Window-panes,  432  ;  Painting  on  Lawn, 
434  ;  To  Imitate  Stained  Glass,  435 ;  Windows  of  Imitation  Ground 
Glass,  436. 

CHAPTER  XXXIX. 
FURNITURE,   OLD  AND  NEW 438 

The  Bookcase,  439  ;  The  Chair,  441  ;  The  Bedstead,  >m  ;  A  Dressing- 
table,  444 ;  Washstand,  446 ;  A  Hall  Seat,  447  ;  Window  Seat  and 
Book-shelves,  combined,  448. 

CHAPTER  XL. 
SOMETHING  ABOUT  MANTLE-PIECES  AND  FIRE-PLACES 451 


xii  Contents. 


CHAPTER  XLL 

PAGE 

HOME-MADE  CANDY 458 

Peanut  Candy,  Butter  Scotch  and  Molasses  Candy,  459 ;  Walnut  and  Fruit 
Glace,  460  ;  Marshmallow  Paste,  460  ;  Chocolate  Caramels,  461 ;  Pop- 
corn Balls,  462. 

CHAPTER  XLIL 
SAINT  VALENTINE'S  DAY...... 464 

Valentine  Party,  465. 


The    American    Girl's 
Handy    Book. 


CHAPTER  I. 

FIRST    OF    APRIL. 

HIS  is  the  children's  own  day,  and 
no  assumption  of  dignity  on  the 
part  of  their  elders  can  deter  them 
from  exercising  the  privileges  granted 
to  them  by  acknowledged  custom  and 
precedent. 

"  April  fool!    April   fool!"    cries 

my  little  nephew,  as  he  dances  with  delight  to  see  his  aunt 
walk  out  of  the  room  with  a  piece  of  white  paper  dangling 
from  a  hooked  pin,  attached  to  her  dress. 

"  April  fool  !  April  fool  !  "  shout  the  children  in  the  street, 
thus  announcing  the  success  of  some  practical  joke. 

"April  fool  !  "  laughs  everyone  at  the  table,  when  some  un- 
fortunate bites  into  a  brown,  wholesome-looking  cruller,  only 
to  find  it  a  delusion  and  a  snare,  the  coat  of  a  cruller,  but  the 
inside  of  cotton. 

"April  fool !  April  fool !  "  is  what  even  the  little  sparrows  seem 


4  Spring. 

to  chirp,  as  with  a  "s-w-h-e  r-r  "  they  sweep  down  from  the 
tree  and,  frightening  away  the  kitten,  take  forcible  possession  of 
her  bone.  What  does  all  this  mean  ?  Why  is  the  first  day  of 
April  called  "  All-Fools-Day,"  and  when  or  where  did  the 
custom  of  the  day  originate  ?  Who  can  tell  ?  No  one  seems 
to  know.  Even  the  derivation  of  the  word  April  does  not  ap- 
pear to  have  been  definitely  settled,  and  this  saucy  month,  with 
her  mischievous  tricks  and  pranks,  her  surprises  and  mysteries, 
fools  and  puzzles  our  wisest  men. 

Through  many  centuries  the  observance  of  All-Fools-Day 
has  descended  to  us.  In  many  climes  and  many  countries  this 
day  is  chosen  as  the  proper  time  for  playing  tricks  on  the  un- 
suspecting. 

"  Festum  Fatuorum,"  or  "  Fools'  Holiday/'  is  what  it  was 
called  in  England  at  the  time  of  the  arrival  of  the  early  Christians 
in  that  country. 

Easily  caught  like  the  mackerel,  which  are  plentiful  on  the 
French  coast  in  April  and  are  said  to  be  deficient  in  understand- 
ing, the  April  fool  in  France  derives  his  name  from  that 
fish,  and  is  called  "  Poisson  d'Avril"  or  "April  Fish,"  and 
again,  "  Silly  Mackerel."  From  the  cuckoo,  a  bird  that  does  not 
know  enough  to  build  its  own  nest,  the  appellation  of  "  gowk  " 
is  taken,  and  is  given  to  the  foolish  one  in  Scotland  who  allows 
himself  to  be  duped  on  this  day. 

In  India  at  the  festival  called  Huli  Festival  held  on  the  last 
day  of  March,  the  natives  make  merry  at  the  expense  of  their 
friends,  just  as  we  do,  and  their  fool  is  called  "  Huli  Fool." 

So  in  the  East  and  in  the  West,  in  the  North  and  in  the  South, 
in  the  oldest  nation  as  well  as  the  youngest,  is  this  ridiculous 
custom  observed,  and,  as  if  to  make  it  still  more  ridiculous,  no 
one  apparently  knows  why. 

Now,  girls,  since  this  holiday  has  descended  to  us  from  so  far 
back  that  its  origin  appears  lost  in  the  dim  twilight  of  past  ages. 


First  of  April. 


there  surely  must  be  some  reason  for  its  existence,  and  that  reason 
may  be,  that  "  a  little  nonsense  now  and  then  is  relished  by  the 
wisest  men,"  and  is  therefore  wholesome  as  an  occasional  diet. 
So  why  not  help  to  perpetuate  it ;  not  with  rude,  practical  jokes, 
but  with  comical  surprises,  and  absurd,  but  unembarrassing,  sit- 
uations. Much  harmless  fun  can  be  derived  from  the  privileges 
of  this  day,  devoted  as  it  is  to  nonsense,  and  we  introduce  the 
April  Fool  Party  as  an  excellent  means  of  concentrating  the 
fun,  and  furnishing  plenty  of  merriment  to  the  young  folks  who 
are  bent  on  having  a  good  time. 

First  of  April  Party. 

I  remember,  when  quite  a  little  girl,  I  was  granted  the  privi- 
lege of  celebrating  my  birthday,  which  came  on  the  1st  of  April, 
with  a  candy-pull,  and  a  few  days  previous  to  the  event  I 
started  joyfully  off  to  invite  my  friends.  The  invitations  were 
laughingly  given  and  accepted,  and  it  did  not  occur  to  me  that  I 
would  be  suspected  of  playing  a  joke,  although  the  party  was 
to  be  on  April-Fools-Day.  It  seems,  however,  that  my  good  in- 
tentions were  doubted,  and  the  children  were  undecided  whether 
to  come  or  not.  I  had  begun  to  suspect  that  a  joke  was  to  be 
played  on  me  by  their  all  remaining  away,  before  they  finally 
arrived  in  a  body,  having  taken  the  precaution  of  coming  in 
that  way,  so  that  if  the  party  were  a  hoax  they  would  all  be 
fooled  together. 

I  relate  this  incident  that  warning  may  be  taken  from  my  ex- 
perience, and  that  it  may  be  understood  how  important  it  is  to 
make  the  guests  invited  to  your  First  of  April  party  realize  that 
the  invitations  are  given  in  good  faith,  and  that  your  friends 
are  expected  to  be  on  hand  at  the  appointed  time. 

It  is  well,  in  giving  a  party  of  this  kind,  to  have  the  whole 
programme  laid  out  beforehand,  so  that  everything  may  go 
smoothly  and  nothing  be  forgotten. 


Spring. 


The  few  methods  of  April  fooling  given  here  need  not  con- 
stitute the  whole  entertainment ;  the  list  may  be  added  to  by 
the  young  hostess,  who  will,  no  doubt,  have  many  ideas  of  her 
own  to  carry  out.  We  will  head  our  list  with  the 

Mirror  Tableau. 

This  novel  tableau  is  made  ready  in  the  following  manner  : 

In  a  door-way,  or  bay-window  draped  with  full  curtains, 
place  a  large  mirror.  Instead  of  having  the  curtains  suspended 
from  the  usual  pole,  it  is  best  to  stretch  a  wire  across  the  space 
and  slip  the  curtain-rings  upon  that,  as  they  will  slide  more 
readily  on  the  wire  ;  and  when  it  is  time  to  draw  back  the  dra- 
pery it  should  be  done  quickly.  A  table  placed  before  the  cur- 
tains will  serve  as  a  barricade,  keeping  the  too  curious  from  tak- 
ing a  peep  at  the  hidden  mysteries  before  they  are  ready  to  be 
revealed. 

At  the  time  selected,  remove  the  table,  and  request  all  those 
desiring  to  see  the  tableau  to  arrange  themselves  in  front  of  the 
curtain,  and  to  remain  perfectly  quiet,  as  any  movement  will  dis- 
turb those  taking  part. 

If  the  front  rows  of  the  audience  can  be  induced  to  kneel  or 
sit  upon  the  floor,  those  in  the  rear  can  obtain  a  better  view, 
and  it  will,  at  the  same  time,  make  the  group  more  effective. 
When  perfect  quiet  is  obtained,  give  the  signal  to  your  assistant, 
who  must  stand  opposite  to  you  at  the  side  of  the  curtain,  and 
with  her  help  quickly  draw  aside  the  draperies,  thus  disclosing 
the  tableau  of  a  group  of  young  people,  motionless,  gazing  into 
the  mirror  with  eager  and  expectant  eyes.  For  an  instant  the 
audience  will  be  held  spell-bound,  scarcely  realizing  that  they 
themselves  are  forming  the  pretty  tableau. 

"  We  are  April  Fools,"  written  with  soap  on  the  mirror  near 
the  top,  as  shown  in  the  illustration,  tells  what  character  the 
actors  are  assuming,  and  gives  a  name  to  the  tableau. 


First  of  April. 


The  Mirror  Tableau. 


8  Spring. 


During  the  interval  which  should  be  allowed  to  intervene 
before  introducing  the  next  thing  on  the  programme,  the  guests 
will  find  amusement  in  the  many  harmless  practical  jokes  which 
are  awaiting  the  unwary  in  all  manner  of  places. 

For  instance,  some  boy  will  print  APRIL  FOOL  in  large 
white  letters  on  his  own  back,  by  simply  resting  for  a  moment 
in  a  convenient  chair  upon  whose  snowy  tidy  the  dreaded  words 
have  previously  been  printed  backwards  with  white  chalk.  On 
the  dark  woolly  surface  of  the  coat,  the  white  letters  will  be 
perfectly  transferred,  and  the  boy,  little  knowing  what  he  has 
done,  or  the  cause  of  the  merriment,  will  join  in  the  general 
laughter  his  appearance  creates. 

A  treacherous  divan  can  be  provided  by  removing  the  top 
of  a  low,  flat  packing-box,  and  putting  in  its  place  brown  wrap- 
ping-paper, tacking  it  down  around  the  edges  of  the  box. 
With  a  piece  of  drapery  thrown  over  it,  entirely  concealing  the 
box,  and  sofa  pillows  placed  upon  it,  leaning  against  the  wall, 
the  divan  looks  exceedingly  comfortable  and  inviting.  But  woe 
unto  the  person  who  mistakes  appearances  for  reality,  for  to  at- 
tempt to  sit  upon  this  seeming  substantial  couch  is  but  to  break 
through  and  sit  upon  the  floor  instead. 

The  box  used  for  the  divan  should  not  be  more  than  twelve 
inches  high,  so  that  the  fall  will  be  only  funny,  not  dangerous. 

The  next  diversion  may  be  a 

Noah's  Ark  Peep-show. 

Make  the  peep-show  of  a  box  about  two  and  a  half  feet 
long  and  one  foot  and  a  half  high.  Remove  the  top  and  both 
of  the  end-pieces  (Fig.  i).  Cut  from  pasteboard  a  slide  to 
exactly  fit  the  box,  and  place  it  in  the  middle,  thus  cutting  off 
the  view  from  either  end,  as  shown  in  Fig.  i.  Make  a  curtain 
in  two  pieces,  and  tack  them  around  the  upper  edge  of  the 


First  of  April. 


box,  letting  them  meet  at  each 
end.       Stout    pieces    of  twine, 
stretched   across  the  openings   at 
the  ends  of  the  box,  will  serve  to 
attach  the  drapery  at  these  points. 
Almost  any  kind  of  material  will 
answer  for  this  purpose,  provided  it 
is  not  too  thin  and  is  of  some  bright 
hue,  for  the    peep-show   should   be 
made    to    look  as  gay  as    possible. 
Place    the   box  upon  a  high   stand, 
and    so    arrange    it    that    a    strong 
light  will  shine  down  into  it,  making 
the  interior,  from  end  to  end,  per- 
fectly light. 

From  a  list,  previously  prepared,  of  the  animals  supposed 
to  be  on  exhibition,  read  the  first  two,  and  invite  two  per- 
sons, a  girl  and  a  boy,  for  instance,  to  look  into  the  peep-show. 
We  will  suppose  that  the  first  animals  on  the  list  are  the  raven 
and  the  dove.  Inform  your  would-be  audience  that  you  have 
two  of  Noah's  special  pets  to  show  them  ;  that  from  the  girls' 
point  of  view  will  be  seen  a  raven,  and  from  the  boys',  a  dove, 


F,sl 


Noah's  Ark  Peep-show. 


io  Spring. 

When  taking  their  places  at  the  box,  one  at  each  end,  the  two 
spectators  must  part  the  curtain,  and,  putting  their  faces  be- 
tween, hold  the  drapery  together  under  their  chins.  This  is 
to  keep  the  remainder  of  the  company  from  obtaining  a  glimpse 
into  the  wonderful  show  before  their  turns  arrive. 

When  all  is  ready,  and  the  two  wondering  faces  are  hidden 
between  the  folds  of  the  peep-show  curtains,  with  the  words, 
"  Behold  the  pretty  dove,  and  the  mischievous  raven,"  remove 
the  slide,  and  expose  to  the  astonished  gaze  of  each  spectator  a 
companion's  familiar  face  at  the  opposite  end  of  the  box.  Of 
course,  upon  retiring  from  the  show,  its  secret  must  be  kept, 
otherwise  the  joke  will  be  spoiled  for  those  whose  turns  are  yet 
to  come. 

Before  the  next  two  take  their  station  at  the  box,  replace 
the  slide  and  pretend  to  rearrange  the  show,  to  divert  the  sus- 
picion that  the  box  is  empty. 

The  Supper 

can  be  made  the  means  of  perpetrating  many  practical  jokes. 
The  shams  must  be  so  intermingled  with  the  real  delicacies  that 
one  can  never  be  sure  what  the  consequences  may  be  of  par- 
taking too  rashly  of  even  the  most  tempting-looking  morsel. 

Small  blocks  of  wood  covered  with  batter  and  browned  in 
the  oven  are  excellent  imitations  of  cakes.  Dainty  confection- 
ery, in  crimped  papers,  can  be  made  of  small  radishes  covered 
with  icing  of  different  colors.  Button-moulds  coated  with  choc- 
olate will  readily  be  mistaken  for  candy. 

If  a  small  pasteboard  pill-box  is  first  filled  with  flour,  and 
the  top  then  covered  with  tissue-paper  pasted  down  around  the 
edges,  it  will  look,  when  iced,  like  a  delicate  little  cake,  and 
will  cause  much  merriment  when  anyone  bites  into  it ;  for  the 
moment  the  paper  cover  is  broken  the  flour  will  fly  in  every 


First  of  April. 


u 


direction.  The  fertile  brain  of  girls,  on  mischief  bent,  will  sug- 
gest many  more  frauds  of  this  kind,  and  enough  surprises  may 
be  prepared  to  make  the  supper  as  merry  as  anything  else  on 
the  evening's  programme. 

Before  leaving  this  subject,  once  more  let  the  caution  be 
given  to  keep  the  jokes  entirely  harmless.  It  is  only  poor  fun 
that  can  be  obtained  at  the  expense  of  injuring  others,  or  by 
running  the  slightest  risk  of  hurting  them  in  any  way. 

The  spirit  of  mischief  must  be  kept  within  bounds  even  on 
All- Fools-Day. 


Gathering  Wild  Flowers. 


CHAPTER    II. 
WILD  FLOWERS  AND  THEIR  PRESERVATION. 

ONG  before  the  first  green  leaves  make  their 
appearance,  while  the  snows  of  winter  still 
linger  in  the  shaded  nooks,  and  the  branches 
are  still  bare,  though  blushing  with  the  full, 
flowing  sap  that  tinges  their  tips  pink,  yellow, 
and  red — when  the  air  is  filled  with  a  sweet 
freshness  and  delicate  fragrance — it  is  charm- 
ing in  our  rambles  to  find  scattered  here  and 
there  upon  the  hill-side,  down  among  the  roots  of  the  great 
trees,  or  under  the  hedges  delicate  little  wild  flowers  waving 
on  their  fragile  stalks  with  the  faintest  passing  breeze.  They 
are  so  exquisitely  beautiful  with  their  tender  hues  and  graceful 
shapes,  that  a  longing  comes  to  possess  them. 

And  why  not  keep  them  fresh  at  home  ?  Plants  live  in 
the  earth  and  require  light,  air,  and  moisture.  All  of  these 
requirements  can  be  and  are  fulfilled  in  thousands  of  homes 
where  plants  are  kept,  all  over  the  world.  But  these  are 
wild  floivers.  True,  and  they  may  need  something  to  be 
found  only  in  the  wild  woods.  What,  then,  is  it  ?  Let  us 
see.  Earth,  light,  and  air  abound  everywhere.  Still,  upon 
inspection  we  discover  that  the  soil  around  our  timid  wild 
flowers  is  somewhat  different  from  that  to  be  found  in  our 
door-yards.  But  what  is  simpler  than  to  take  the  earth  up 
with  the  plant  ? 


Sprzng. 


Be  careful  in 

Transplanting  Wild  Flowers 

to  dig  well  all  around  and  under  the  roots,  so  that  the  earth 
surrounding  and  clinging  to  the  plant  may  be  taken  up  at  the 
same  time  (Fig.  2).  After  covering  the 
root  and  soil  adhering  to  it  with  a  layer 
of  clay,  mud,  or  damp  earth  (Fig.  3) 
set  the  root  in  a  large  leaf,  and 
tie  it  up  with  string  or 
a  wisp  of 
grass  (Fig 
4),  in  order 
to  make 
sure  the  soil 


does  not  fall 

off  the  plant.  Thus  se- 
cured the  specimens  will 
keep  nicely  until  you 
reach  home  ;  then  plant 
them  in  a  shady  place 
and  keep  the  ground  moist.  Beautiful  little  woodland  gardens 
are  made  in  this  way,  where  within  a  few  steps  of  the  door  a 
glimpse  may  be  had  of  the  fair  forest  flowers. 

Sweet-scented  white  violets,  delicate  little  anemones,  odd 
yellow  violets,  and  quaint  jack-in-the-pulpits,  with  many  others, 


Wild  Flowers  and  their  Preservation.       15 


not  forgetting  the  graceful  ferns,  are  now  growing  in  the  shaded 
corner  of  the  writer's  lawn,  transplanted  there  from  their  home 
in  the  woods,  where  she  found  them  one  lovely  spring  morning, 
when  out  with  a  party  of  friends  on  a  hunt  for  wild  flowers. 

The  day  was  perfect,  filled  with  sunshine  and  the  song  of 
birds.  All  nature  appeared  glad  and  joyous,  and  the  trees 
seemed  veiled  in  the  softest  greens  and  pinks  of  budding 
leaves. 

It  was  a  happy  party  that  went  wandering  into  the  forest, 
straying  here  and  there,  and  finding  new  treasures  at  nearly 
every  step,  stopping  to  gather  a  few  of  the  violets  that  gave  a 
purple  tinge  to  the  ground  for  yards  around,  then  rambling  on 
to  the  spot  that  was  covered  with  the  fragile  anemone,  each  girl 
laden  with  the  flowers  she  loved  best.  Some  had  taken  them  up 
roots  and  all,  while  others  preferred  the 

Cut  Wild  Flowers. 

For  these  it  is  best  to  use  a  tin  box  of  convenient  size  and 
form  shutting  closely.  The  flowers  must  be  fresh  and  not  at  all 
damp  ;  in  such  a  box  they  can  be  kept  for  days  bright  and  un- 
fading. They  may  also  safely  be  sent  to  friends  at  a  distance, 
though  it  is  better,  when 

Sending  Flowers  by  Mail, 

if  you  wish  to  send  a  quantity,  to  pack  them  in  a  strong  paste- 
board or  wooden  box.  First  lay  down  a  piece  of  oiled  paper  of 
the  proper  size  ;  spread  a  thin  layer  of  damp  paper  on  this  ;  next 
a  layer  of  flowers,  then  one  of  thin  wet  paper ;  and  so  on  until 
the  box  is  full.  Over  the  last  layer  place  a  dry  paper,  and  cover 
this  with  oiled  paper  or  tin-foil  ;  put  the  lid  on  the  box  and  tie 
it  down  securely. 


1 6  Spring. 


By  this  method  a  larger  number  of  flowers  can  be  sent  in  a 
given  space  than  when  simply  inclosed  in  a  tin  box. 

The  writer  has  often  sent  daisies  from  New  York  to  Cincin- 
nati where  they  arrived  as  fresh  as  when  first  gathered. 

For  the  benefit  of  those  who  wish  directions  for  sending 
flowers  by  mail,  we  give  the  following  on  authority  of  the 
American  Agriculturist. 

"The  law  passed  some  years  since  by  Congress,  allowing  packages  of 
plants  to  be  sent  by  mail,  if  not  over  four  pounds  in  weight,  was  a  capital 
arrangement  for  those  who  lived  at  a  distance  from  railroad  and  express 
offices,  but  it  is  so  hampered  with  the  various  constructions  given  by  the 
Post  Office  Department,  that  it  is  difficult  to  know  what  is  required  by  the 
officials.  The  law  now  is,  we  believe,  as  follows  :  A  package,  weighing  four 
pounds  or  less,  can  be  sent  at  the  rate  of  two  cents  per  four  ounces,  but  the 
writing  of  the  words  "roots"  or  "plants"  makes  a  letter  of  it,  and  is 
charged  letter  postage.  Nothing  should  be  written  except  the  address,  and 
the  package  must  not  be  sealed,  or  contain  any  writing,  and  it  must  be  so 
fastened  that  the  postmaster  can  examine  the  contents  if  he  wishes.  The 
plants  may,  however,  be  numbered,  and  their  names  sent  by  letter." 

Now  let  us  think  of  some  way  in  which  these  lovely  blossoms 
can  be  preserved. 

In  Germany  they  excel  in  making  decorations  for  rooms, 
dinner-tables,  etc.,  of 

Preserved  Flowers. 

Bright-colored  flowers  are  best  adapted  to  this  method.  White 
flowers  are  apt  to  turn  yellow.  Jack-in-the-pulpits,  clover, 
roses,  and  daisies  came  out  beautifully  when  the  writer  dried 
them,  and  why  should  not  many  other  kinds  do  just  as  well? 
Try  and  see. 

Procure  three  or  four  quarts  of  fine  sand  ;  white  scouring-sand 
is  the  best ;  wash  it  perfectly  clean.  This  can  be  tested  by  pour- 
ing the  water  off  until  it  looks  quite  clear ;  then  dry  the  sand, 


Wild  Flowers  and  their  Preservation.       17 


by  placing  it  in  a  clean  tin  in  the  oven.     When  it  is  dry — fully 

dry  and  cool — pour  enough 
in  a  box  to  enable  the  flowers 
to  stand  by  themselves,  their 
stems  embedded  in  the  sand, 
which  should  be  a  mass  of 
fine  particles  of  uniform  size. 
If  the  flowers  are  cut  so 
that  they  all  measure  nearly 
the  same  length  from  the  tip 
of  the  blossom  to  the  end  of 
the  stem,  they  can  more 
readily  be  covered  with  sand. 


Preserved  Flowera. 


The  flowers  must  be   fresh   and   entirely  free  from   moisture.. 
Place  them  stem  downward  in  the  sandy  layer,  and  very  gently 


1 8  Spring. 

and  slowly  pour  in » the  sand  a  little  at  a  time,  until  each  leal 
and  petal  is  firmly  held  in  place  (Fig.  5) ;  then  fill  the  box 
with  sand  nearly  two  inches  above  the  level  of  the  flowers. 

It  is  very  essential  that  every  particle  of  the  flower  rest  in 
the  sand,  and  that  in  filling  up,  the  smallest  petal  has  not  been 
bent  or  crumpled. 

Take  care  not  to  shake  the  box  lest  the  flowers  inside  be  in- 
jured. Set  it  in  a  warm,  dry  place,  and  let  it  stand  at  least  two 
weeks. 

This  manner  of  preserving  flowers  retains  the  color,  while 
the  shape  of  the  leaves  and  petals  remains  unaltered.  The  flow- 
ers will  keep  for  years. 

There  are  other  ways  also  of  preserving  flowers. 

Pressed  Flowers  and  Leaves. 

Although  these  are  perfectly  flat,  they  seldom  fade  and  are 
very  pretty  and  useful.  Have  ready  a  large  book  or  a  quantity 
of  old  newspapers  and  several  weights.  Use  the  newspapers 
for  leaves  and  ferns — blotting-paper  is  best  for  the  flowers. 
Both  the  flowers  and  leaves  should  be  fresh  and  without  moist- 
ure. Place  them  as  nearly  in  their  natural  positions  as  possible 
in  the  book  or  papers,  and  press,  allowing  several  thicknesses 
of  paper  between  each  layer.  Remove  the  specimens  to  dry 
papers  each  day  until  perfectly  dry. 

Some  flowers  must  be  immersed — all  but  the  flower  head- 
in  boiling  water  for  a  few  minutes,  before  pressing,  to  prevent 
them  from  turning  black.  Orchids  are  of  this  nature. 

If  possible,  it  is  well  to  obtain  all  parts  of  a  plant,  the  roots 
as  well  as  the  seeds,  for  a  more  interesting  collection  can  thus 
be  made  than  from  the  flower  and  leaf  alone. 

It  is  advisable  to  be  provided  with  a  blank  book  or,  what  is 
still  better,  pieces  of  stiff  white  paper  of  uniform  size  on  which 


Wild  Flowers  and  their  Preservation.       19 

to  mount  the  flowers  or  leaves  when  dried  ;  also  with  a  smal] 
bottle  of  mucilage  and  a  brush  for  fastening  them,  and  some 
narrow  strips  of  court-plaster  or  gummed  paper  for  the  stems 
and  thicker  parts  of  the  plants.  The  sooner  they  can  be 
mounted  the  better.  Place  them  carefully  on  the  paper,  writ 
ing  beneath  the  locality  and  date  of  finding.  Flowers  and 
leaves  thus  prepared  make  beautiful  herbariums.  Should  you  de- 
sire 

Leaves  and  Ferns  for  Decoration, 

first  press  them  nicely  ;  then  give  them  a  coat  of  wax,  by 
ironing  them  on  both  sides  with  a  hot  iron  over  which  a  piece 
of  beeswax  has  first  been  rubbed.  Cover  the  specimens  com- 
pletely with  wax,  as  this  renders  them  quite  pliable,  and  they 
are  no  longer  brittle  nor  easily  broken.  Sprays  of  small  leaves 
can  be  pressed  entire. 

To  heighten  the  effect,  use  dry  colors,  rubbing  them  in,  and 
selecting  those  corresponding  with  the  color  of  the  leaves  when 
first  gathered. 

The  colors  must  be  put  on  before  the  coating*  of  wax. 
Ferns  should  be  gathered  when  nearly  full  grown,  and,  after 
they  are  pressed,  painted  light  green  with  oil-colors  ;  in  that 
case  the  beeswax  is  not  used.  The  oil  in  the  paint,  like  the 
wax,  makes  the  specimens  more  substantial,  and  they  look 
quite  fresh  and  fair. 

Sometimes  the  late  autumn  frosts  will  bleach  the  ferns  per- 
fectly  white  ;  then  are  they  even  more  delicate  than  before  Nat 
ure  changed  their  color.  We  have  seen  the 

Color  of  Flowers  Changed, 

and  it  is  a  very  pretty  experiment,  very  simple,  too.  Immerse 
the  flowers  in  ammonia,  and  you  will  be  surprised  to  see  white 


2O  Spring. 


lilies  change  to  a  delicate  yellow,  pink  roses  turn  a  lovely 
light  green,  while  dark-red  sweet-peas  assume  blue  and  rich 
purple  tints  ;  and  the  change  is  so  rapid  it  is  almost  like  magic. 
Another  interesting  experiment  is  making 

Natural  Wax  Flowers 

by  dipping  the  fresh  buds  and  blossoms  in  paraffine  just  suffij 
ciently  hot  to  liquefy  it ;  first  the  stems  of  the  flowers  ;  when 
these  have  cooled  and  hardened,  then  the  flowers  or  sprays, 
holding  them  by  the  stalks  and  moving  them  gently.  When 
they  are  completely  covered  the  flowers  are  removed  and  lightly 
shaken,  in  order  to  throw  off  the  superfluous  wax.  The  flowers 
are  then  suspended  until  perfectly  dry,  when  they  are  found 
hermetically  sealed  in  a  film  of  paraffine,  while  they  still  keep 
their  beautiful  coloring  and  natural  forms,  and  for  a  while  even 
their  perfume.  Now  let  us  find  what  can  be  done 

To  Freshen  Cut  Flowers. 

When  the  heat  has  made  them  wilt,  clip  the  stems  and  set 
the  flowers  in  cold  water  ;  in  a  few  hours  they  will  regain  their 
freshness  and  beauty. 

Some  flowers,  however,  must  be  differently  treated,  such  as 
heliotrope  and  mignonette  ;  these  keep  if  placed  upon  damp 
moss  or  cotton  and  set  in  a  cold  place  at  night. 

Rosebuds  will  retain  their  freshness  for  hours  when  not 
placed  in  water,  if  the  ends  of  the  stems  are  snipped  off,  and 
immediately  tipped  with  melted  sealing-wax  ;  this  excludes' 
the  air,  and  so  keeps  the  flowers  from  drooping. 

If  roses  are  wilted  before  they  can  be  placed  in  water,  cut 
off  the  ends  of  the  stalks  and  immerse  in  very  hot  water  for  a 
minute  or  two,  and  they  will  regain  their  pristine  freshness. 

Another  way  to  keep  flowers  fresh  is  to  put  a  pinch  of  ni- 
trate of  soda  into  the  glass  each  time  you  change  the  water 


Wild  Flowers  and  their  Preservation.      21 

Nitrate  of  potash  or  saltpetre  in  a  powder  has  nearly  the  same 
effect,  or  a  drop  of  hartshorn. 

If  plants  are  chilled  by  frost,  shower  them  with  cold  water, 
and  leave  in  a  cool  room  ;  or  set  the  pot  in  cold  water  and  keep 
in  a  moderately  cool  place.  Now  one  word  about 

Crystallized  Flowers, 

that  sparkle  and  look  so  beautiful.  They  must  first  be  dried  in 
sand,  then  crystallized  in  the  same  way  as  dried  grasses— the 
rougher  the  surface  the  better  will  it  crystallize.  Dissolve  as 
much  alum  in  boiling  water  as  it  will  hold  ;  when  this  is  deter- 
mined, pour  it  off  and  boil  the  solution  down  to  one-half. 

Suspend  the  flowers  by  a  net-work  of  string  tied  across  the 
top  of  a  pail  into  which  they  must  hang  ;  then  pour  into  the 
pail  the  boiling  alum  water,  which  must  completely  cover  the 
flowers,  and  leave  it  undisturbed  twelve  hours,  or  all  night. 

The  flowers  should  not  touch  each  other  or  the  sides  of  the 
bucket.  Be  careful  in  removing  them  the  next  morning,  as  the 
crystals  are  easily  broken  off. 

Flowers  or  sprays  of  grass  may  be  beautifully  frosted  by 
dipping  them  in  a  solution  of  gum-arabic  and  sprinkling  them 
with  powdered  isinglass. 

Flowers  are  not  only  very  beautiful,  but  many  of  them  pos- 
sess a  fragrance  so  sweet  that  we  would  fain  learn  how  to  keep 
the 

Perfume  of  Flowers. 

Rose-leaves  are  the  most  simply  prepared.  Take  a  covered 
jar, fill  it  with  sweet-scented  rose-leaves,  and  scatter  through  them 
some  salt.  Keep  the  jar  closed  tight,  and  when  the  petals  have 
dried  the  "  scent  of  the  roses  will  cling  to  them  still,"  so  that 
every  time  the  jar  is  opened  a  delicious  fragrance  will  fill  the 
air.  Or  you  can  cover  the  rose-leaves  with  melted  lard,  and 
leave  them  for  a  day  or  two  in  some  place  at  a  temperature 


22 


Spring. 


of  about  140°  F. ;  then  cool 
it  and  knead  the  lard  in  alco- 
hol. Pour  off  the  alcohol  in 
fancy  glass  bot- 
tles and  use  as 
handkerchief  per- 
fume. 

For  varieties  we 
find  this  method  : 

"  The  delicate  odor 
of  pinks  and  other  flowers  may  be 
obtained  as  follows  :  Get  a  glass 
funnel,  with  the  narrow  end 
drawn  to  a  point ;  in  this  place 
lumps  of  ice  with  salt,  by  which 
a  very  low  temperature  is  pro- 
duced. The  funnel  should  be 
supported  on  an  ordinary  retort-stand  and  placed 
near  the  flowering  plants,  when  water  and  the 
ethereal  odor  of  the  blossom  will  be  deposited  on 
the  exterior  of  the  glass  funnel,  and  will  trickle 
down  to  the  point,  from  which  it  drops  at  inter- 
vals into  a  glass  vessel  below.  The  scent  thus 
obtained  is  very  perfect,  but  is  apt  to  become 
sour  in  a  few  days  unless  some  pure  alcohol  is 
added.  By  this  process  many  odors  maybe  pro- 
cured for  comparison  and  study.  To  obtain  the 
odor  in  perfection  the  blossom  must  be  in  its 
prime." 


Dry  some  sweet  clover,  and  the  fra- 
grance will  be  sweet  and  pleasant.  Fill  a 
fancy  bag  of  some  thin  sheer  material  with 
the  clover,  and  you  will  find  that  you  have 
imprisoned  the  fresh  breath  of  summer. 
Old-time  lavender  can  be  prepared  in  the  same  way. 


, 


Wild  Flowers  and  their  Preservation.      23 

Our  thoughts  so  far  have  been  for  the  flowers  in  their  sea- 
son.    But  did  it  ever  occur  to  you  that  it  is  possible  to  have 


Spring  Flowers  in  "Winter? 

If  you  search  in  the  woods  during  December  you  may  find, 
tucked  away  in  sheltered  spots,  little  woodland  plants  which, 
when  taken  up  and  carefully  transplanted  in  a  flower-pot  and 
set  in  a  sunny  window,  will  soon  begin  to  grow,  sending  up 
tender  stems,  and  in  about  three  weeks  will  blossom.  The  lit- 
tle fairy-like  flowers  seem  even  more  beautiful  coming  in  the 
cold  wintry  weather. 

Fruit-tree  twigs  and  sprays  from  flowering  shrubs  will  blos- 
som when  the  ground  is  white  with  snow,  if  cut  from  trees 
about  the  first  of  February,  placed  in  well-heated  water  in  a 
warm  room,  and  the  water  changed  every  day  for  some  that  is 
almost  but  not  quite  hot. 

The  twigs  being  kept  warm  will  blossom  in  a  few  weeks. 

It  is  quite  a  pretty  idea  to  take  up  and  plant  in  a  little 
flower-pot 

The  Four-leaved  Glover. 

Very  frequently  you  may  find  a  tuft  bearing  only  the  mystic 
number,  and  should  it  happen  to  have  a  five-  or  six-leaved  clover 
in  with  the  others,  they  will  add  to  the  luck. 

If  you  possess  one  of  these  charmed  plants,  it  is  said  "good 
luck  "  will  always  be  near  at  hand. 

Besides  the  foregoing  directions  for  the  preservation  of 
flowers,  plants,  etc.,  there  are  numerous  other  methods,  which, 
although  not  experimentally  verified  by  the  writer,  are  no 
doubt  as  worthy  of  a  place  here  as  any  of  the  former. 

The  following  recipes  have  been  culled  from  various  old 
papers,  books,  etc. 


24  Spring. 


Some  Old-fashioned  Methods  of  Preserving  Flowers. 

The  first  of  these  ways  is  more  properly  intended  for  bo« 
tanical  collections,  and  is  often  resorted  to  by  collectors  of  rare 
blossoms.  It  consists  in  placing 

Flowers  in  Alcohol, 

and  possesses  the  great  advantage  of  preserving  the  flowers  for 
years,  and  keeping  their  most  delicate  fibres  uninjured.  They 
make  invaluable  specimens  to  sketch  from,  and  though  their 
beauty  may  be  somewhat  impaired  by  loss  of  color,  their  out- 
lines remain  perfect. 

Place  the  flowers  in  a  wide-mouthed  bottle,  fill  it  to  the  top 
with  alcohol,  cork  it  tightly,  and  cover  the  cork  with  plaster-of- 
Paris  or  melted  beeswax,  thus  hermetically  sealing  it.  Do  not 
use  sealing-wax,  as  experience  has  taught  us  that  the  fumes  of 
the  alcohol  soften  the  wax,  and  not  only  spoil  the  neat  appear- 
ance of  the  bottle,  but  allow  the  spirits  to  evaporate. 

Another  way  is  to 

Bottle  Flowers. 

Carefully  seal  the  ends  of  the  stems  with  sealing-wax,  place 
them  in  an  empty  bottle — both  flowers  and  bottle  must  be  per- 
fectly dry — cork  the  bottle,  and  hermetically  seal  it  with  either 
sealing-wax  or  beeswax. 

The  next  method  has  greater  possibilities  of  beauty,  and 
consequently  the  reader  will  be  more  interested  in  learning 

How  to  Preserve  a  Vaseful  of  Flowers  for  a  Year. 

Take  home  your  basket  of  wild  flowers,  "  nodding  violets," 
cowslips,  bright-eyed  anemones,  and  all  the  lovely  offerings  of 
the  woods,  and  before  arranging  them  in  the  vase,  carefully 
seal  the  stem  of  each  flower.  Place  a  glass  shade  over  the 
vase  ;  be  careful  that  flowers,  vase,  and  shade  are  perfectly 


Wild  Flowers  and  their  Preservation.      25 

dry  ;  then  fill  up  the  groove  in  the  wood,  in  which  the  shade 
stands,  with  melted  wax.  By  covering  the  wax  with  chenille 
it  can  be  perfectly  hidden. 

Flowers  kept  in  this  way  will  last  for  a  twelvemonth. 

The  flowers  preserved  in  an  empty  bottle  may  be  taken 
out,  the  wax  cut  from  the  stems,  and,  if  arranged  in  a  bouquet, 
will  last  as  long  as  perfectly  fresh  flowers. 

Those  in  the  alcohol  lose  their  color  after  being  immersed 
for  a  time,  and  will  not  last  when  removed  from  the  alcohol. 

In  following  any  of  these  directions  be  careful  not  to  tie 
the  flowers.  No  string  must  be  used.  The  flower  stems  must 
be  loose  and  separate  from  each  other. 

A  florist  of  much  experience  in  preserving  bouquets  for  an 
indefinite  period  gives  this  recipe  for 

Keeping  Bouquets  Fresh  a  Long  Time. 

When  you  receive  a  bouquet  sprinkle  it  lightly  with  fresh 
water,  then  put  it  into  a  vessel  containing  some  soapsuds  ;  this 
will  take  the  place  of  the  roots  and  keep  the  flowers  bright  as 
new.  Take  the  bouquet  out  of  the  suds  every  morning,  and  lay 
it  sideways,  the  stems  entering  first,  in  clean  water  ;  keep  it 
there  a  minute  or  two,  then  take  it  out,  and  sprinkle  the  flowers 
lightly  by  the  hand  with  water;  replace  it  in  the  soapsuds, 
and  it  will  bloom  as  fresh  as  when  first  gathered. 

The  soapsuds  need  changing  every  three  or  four  days.  By 
observing  these  rules  a  bouquet  can  be  kept  bright  and  beauti- 
ful for  at  least  a  month,  and  will  last  longer  in  a  very  passable 
state.  From  another  source  we  learn  how 

To  Keep  Flowers  or  Fruit  a  whole  Year  perfectly  Fresh. 

Mix  one  pound  of  nitre  with  two  pounds  of  sal  ammoniac 
and  three  pounds  of  clean  common  sand  ;  then  in  dry  weather 


26 


Spring. 


take  fruit  of  any  sort  which  is  not  fully  ripe,  allowing  the  stalks 
to  remain,  and  put  them  one  by  one  into  an  open  glass  until  it 
is  quite  full  ;  cover  the  glass  with  oiled  cloth,  closely  tied  down. 
Put  the  glass  three  or  four  inches  down  in  the  earth  in  a  dry 
cellar,  and  surround  it  on  all  sides  to  the  depth  of  three  or  four 
inches  with  the  above  mixture.  The  fruit  will  thus  be  pre- 
served quite  fresh  all  the  year  round. 

In  giving  the  following  recipe  for  the  manufacture  of  rose- 
water,  it  may  be  as  well  to  state  that  the  original  verse  is  given, 
not  for  its  merit  as  such,  but  simply  because  it  is  the  form  in 
which  the  recipe  reached  the  writer. 

Rose-water. 

"  When  the  bushes  of  roses  are  full, 

As  most  of  them  are  about  June, 
'Tis  high  time  to  gather,  or  pull 

The  leaves  of  the  flowers.     As  soon 
As  you've  picked  all  you  need  for  the  time, 

To  each  quart  of  water  unite 
K  peck  of  the  leaves,  which,  if  prime — 

And  they  will  be,  if  pulled  off  aright — 
May  be  placed  in  a  still  near  at  hand, 

On  a  very  slow  fire.     When  done, 
Bottle  off,  and  permit  it  to  stand 

For  three  days  ere  you  cork  down  each  one." 


CHAPTER    III. 


THE   WALKING   CLUB. 

SOUND  of  girlish  voices  is 
suddenly  heard  in  the 
quiet  village  streets,  as 
our  Walking  Club,  issuing 
from  the  house  of  one  of 
its  members,  starts  off  on 
the  first  tramp  of  the  sea- 
son. The  gay  chatter 
and  bubbling  laughter 
blend  with  the  twittering  and  chirping  of  the  birds  fluttering 
among  the  budding  trees,  and  all  these  merry  sounds  seem  in 
perfect  harmony  with  the  youthful  gladness  of  the  bright  morn- 
ing. 

There  is  a  subtle  power  and  exhilaration  in  the  spring  sun- 
shine that  stimulates  the  blood,  and  sends  it  tingling  through  our 
veins,  as  with  light-springing  steps  we  quickly  leave  the  village 
behind  us  and  penetrate  into  the  outlying  country,  stopping 
now  and  then  to  secure  a  branch  of  the  downy  pussy  willow 
or  brilliant  red  blossoms  of  the  maple,  and  again  to  admire  a 
distant  view  where  the  trees  seem  enveloped  in  a  hazy  mist  of 
delicate  color ;  on  we  go,  exploring  sequestered  spots  or  enter- 
ing deep  into  the  woods  in  search  of  early  wild  flowers. 

Although  possibly  timid  as  individuals,  as  a  club  we  are 
hrave  enough  ;  for  a  party  of  fourteen  or  sixteen  girls,  including 


The  Walking  Club.  29 

our  merry  little  chaperon,  may  go,  with  impunity,  where  it 
would  not  be  so  pleasant  for  one  to  venture  alone. 

Once  a  week  all  through  that  delightful  spring  the  club  might 
have  been  seen,  now  upon  a  road  leading  in  this  direction,  now 
in  that.  And,  often  as  we  stepped  aside  to  allow  a  carriage  to 
pass,  its  occupants  would  lean  forward  smiling,  and  waving  their 
hands  in  greeting  ;  for  the  moment,  perhaps,  feeling  in  sympathy 
with  the  vigorous  young  life  that  preferred  this  mode  of  loco- 
motion to  being  carried  about  on  the  downiest  cushions  of  the 
easiest  of  carriages.  A  ride  which  accorded  with  the  unconven- 
tional mood  of  our  club  was  not  despised  however,  for,  urged  on 
by  the  girls,  our  little  matron  would  make  bold  to  accost  some 
countryman  driving  a  vehicle  sufficiently  large,  and  persuade 
him,  in  the  terms  of  the  country,  to  "  give  us  a  lift."  Jolting 
about  in  a  springless  wagon  or  hay-cart  was  not  in  the  least 
enervating,  and  we  experienced  no  indolent  wish  to  continue  our 
journey  on  wheels  when  forced  by  diverging  roads  to  leave  our 
equipage.  It  was  not  until  the  ever-increasing  heat  of  the  sun, 
and  our  own  languid  disinclination  to  much  exertion,  warned  us 
that  the  mildness  of  spring  had  passed,  that  we  concluded  to  dis- 
band for  the  summer.  In  the  fall  we  again  fell  into  rank,  and 
came  home  from  our  walks  laden  with  the  gorgeous  trophies  of 
autumn,  as  we  had  once  carried  in  triumph  the  tasselled  branches 
and  dainty  flowers  of  spring. 

We  continued  our  tramps  into  the  early  winter,  when  the 
frosty  crispness  of  the  air  made  it  very  bracing,  and  the  brisk 
exercise  of  walking  brought  the  healthy  color  to  cheek  and  lip 
of  the  young  pedestrians. 

Such  a  club  as  this,  which  at  the  same  time  promotes  health, 
good  spirits,  and  sociability,  is  one  that  most  girls  will  enjoy 
and  derive  benefit  from. 

A  closer  acquaintance  with  Nature,  which  these  walks  afford, 
is  not  the  least  of  their  benefits,  and  to  her  true  lover,  Nature  has 


30  Spring. 

many  delightful  surprises  and  secrets  to  reveal ;  and  as  has 
been  said,  even  for  for  those  who  cannot  read  her  deeper 
meanings  she  has  a  language  which  calls  attention  tt>  her  more 
outward  forms  of  beauty,  and  which  one  may  study  until  gradu- 
ally, with  slowly  opening  eyes,  is  seen  more  and  more  of  the 
exquisite  perfection  of  her  work,  that  long  ago  might  have  been 
seen  had  one  but  chosen  to  look. 

As  a  society,  the  Walking  Club  is  one  of  the  most  informal. 

No  officers  are  needed,  although  a  secretary  may  sometimes 
be  found  useful  when  any  word  is  to  be  sent  to  absent  members. 

The  membership  of  the  club  should  be  large  enough  to 
insure  the  attendance  of  at  least  twelve  or  fourteen  on  each 
walk  ;  for  in  this  case,  as  I  have  said,  safety  lies  in  numbers. 
At  a  place  of  meeting  previously  appointed,  the  members 
should  assemble,  and,  before  starting  on  their  walk,  the  route 
to  be  taken  should  be  decided  by  vote  ;  a  decision  on  this 
point  will  be  more  quickly  arrived  at  if  a  chairman  be  ap- 
pointed to  keep  order. 

The  first  walk  should  not  be  too  long.  Three  miles  is  a 
good  walk  to  start  with  ;  a  mile  and  a  half  out  and  the  same 
home  again.  Gradually  the  distance  can  be  lengthened,  and 
the  club  be  able  to  take  a  ten-mile  walk  without  feeling  fatigue. 


The  Walking  Club. 


~==   To  MAKE  THE  EXERCISE  OF  WALK- 
.  ""  ING   HEALTHFUL,  AND  THEREFORE 

THE  MORE  ENJOYABLE,  THESE  RULES  SHOULD 
BE  OBSERVED. 

\st.  Carry  the  body  erect  on  the 
hips,  the  shoulders  thrown  back, 
the  chest  raised,  and  the  head 
square  on  the  shoulders. 

2d.  Breathe  through  the  nose 
while  walking  rapidly,  other- 
wise the  mouth  will  become  dry 
and  the  breath  short. 

$d.  Wear  loosely  fitting-  clothes 
that  will  permit  a  free  motion 
of  the  limbs,  and  shoes  with 
broad,  moderately  thick  ,soles 
and  low,  broad  heels.  In  all 
cases  a  girl's  skirts  should  be 
supported  from  the  shoulders, 
and  in  walking  any  distance  it 
is  absolutely  necessary  for  com- 
fort that  there  should  be  no 
weight  upon  the  hips. 


CHAPTER   IV. 


EASTER. 

VERYWHERE  the  children  are  playing  with 
eggs  ;  eggs  colored  in  every  hue — mottled, 
striped,  and  gilded  ;  real  eggs  and  imitation 
ones  ;  sugar,  glass,  and  wooden  eggs  ;  for 
this  is  Easter-tide,  and  not  only  in  America, 
but  in  many  far-away  countries,  where  the 
habits  and  customs  are  very  different  from 
ours,  does  Easter  bring  to  the  children  the  highly  prized,  gayly- 
colored  eggs. 

How  nice  it  would  be  if  we  could  take  a  peep  into  these 
foreign  countries,  and  discover  what  else  Easter  brings  the  little 
ones  besides  the  pretty  eggs,  and  also  how  the  people  of  such 
widely  differing  nations  keep  this  happy  festival  "common  to 
all. 

If  we  could  look  into  England  now,  we  should  find  that  the 
ceremonies  there  begin  on  Palm  Sunday  (the  last  Sunday  be- 
fore Easter),  and  on  that  day  many  people  go  a-palming,  only 
they  do  not,  of  course,  find  palm,  but  gather  instead  branches 
of  willow,  which  they  stick  into  their  hats  and  button-holes. 
On  Good-Friday  we  might  see,  on  almost  every  breakfast-table, 
those  hot  spicy  cakes  with  a  cross  stamped  on  the  face,  known 
to  many  of  us  as  well  as  to  our  English  cousins,  as  "  hot  cross 
buns."  We  should  feel  very  much  at  home  looking  into  the 
churches  on  Easter  Sunday,  for  we  should  find  them  beautifully 
3 


34  Spring. 


decorated  with  flowers,  and  hear  the  Easter  anthems  chanted  as 
we  might  in  our  own  country.  I  do  not  think  we  can  see  in 
America,  though,  the  ceremony  which,  on  Easter  Monday,  is 
performed  by  the  charity  school-children  in  England.  Were  we 
among  the  spectators  who,  with  shouts  and  merry  laughter, 
crowd  around  to  watch  this  performance,  we  should  see  the 
children  take  their  places,  with  their  backs  against  the  outside 
of  the  church,  and  then  join  hands  until  a  circle  is  formed 
around  the  building,  thus  completing  what  is  called  "  clipping 
the  church." 

It  would  be  great  fun  to  see  the  Easter  celebration  in  Rus- 
sia, which  includes  many  peculiar  customs,  and  where  the  chil- 
dren receive  presents  as  we  do  at  Christmas,  besides  more  eggs 
than  any  of  us  ever  thought  of  possessing  ;  some  of  the  eggs 
being  beautifully  made  of  glass  or  porcelain,  and  filled  with 
sugar-plums  or  small  presents.  How  amusing  it  would  be  to 
watch  the  people,  following  a  custom  always  observed  on 
Easter  Monday  in  this  queer  land,  as  they  go  about  kissing 
relations,  friends,  and  acquaintances,  wherever  they  happen  to 
meet  them. 

If  we  were  really  in  this  great,  cold,  furry  country,  we 
might  go  with  the  children  to  make  their  Easter  visits,  and, 
on  entering  a  house,  hear  the  greeting,  "Jesus  Christ  is 
risen,"  and  the  answer,  "  Yes,  he  is  risen  ;  "  then  after  kiss- 
ing the  inmates  and  exchanging  eggs  with  them,  go  to  visit 
elsewhere. 

All  this  would  seem  very  strange  to  American  eyes  ;  and 
it  would  be  a  strange  sight  too,  if  we  could  look  into  the  cities 
of  Spain  and  see  the  people  in  the  streets  shooting  at  stuffed 
figures  of  Judas  Iscariot. 

A  passing  glance  at  Ireland  on  Easter  morning  would  show 
us  the  people  making  haste  to  be  out  at  sunrise  to  see  the  sun 
dance  in  a  pool  or  pail  of  clear  water. 


Easter. 


35 


It  would  be  worth  while  to  give  more  than  a  passing  glance 
into  Germany  at  this  season,  for  in  this  country,  where  the  chil- 
dren's happiness  is  so  much  thought  of  and  so  well  provided 
for,  Easter  Monday  is  looked  upon  as  a  grand  holiday,  and 
all  the  young  people  appear  in  their  gala  costumes  ready  for 
any  fun  or  frolic  that  may  be  going  on.  It  is  a  pretty  sight 
when  the  little  peasant-girls,  in  their  quaint  gowns  and  odd 
little  caps,  dance  on  the  green  with  the  boys,  whose  cos- 
tumes are  equally  as  picturesque  ;  and  it  is  also  entertaining  to 
watch  them  as  they  play  various  games  with  their  many-colored 
eggs. 

In  Germany,  too,  we  should  find  that  the  children  believe  as 
sincerely  in  the  Easter  hare  as  they  do  in  Santa  Claus  in  our 
country  ;  and  the  saying,  that  "  the  hares  lay  the  Easter  eggs," 
is  never  doubted  by  the  little  ones. 

After  visiting  in  imagination  all  these  foreign  countries  to 
see  their  Easter  celebrations,  it  may  prove  interesting  to  turn 
our  eyes  toward  home,  for,  since  our  country  is  so  large — as 
large  almost  as  all  Europe  put  together — perhaps  some  of  our 
little  citizens  who  have  never  been  in  Washington  do  not 
know  how,  in  the  capital  of  the  United  States,  the  children  hold 
high  carnival  on  Easter  Monday,  nor  how  the  grounds  of  the 
White  House  and  also  of  the  Capitol  are  given  up  to  them  on 
this  day  that  they  may  frolic  on  the  lawns  and  roll  their  eggs 
down  the  hills.  It  would  be  as  novel  a  sight  to  some  of  us  as 
any  found  abroad,  to  see  several  thousand  children  rolling  and 
tossing  their  eggs,  while  shells  of  every  hue  cover  the  grass  in 
all  directions. 

The  following  newspaper  item,  cut  from  the  Evening 
Star,  Washington,  D.  C.,  April  27,  1886,  shows  how  these 
rights  of  the  little  Americans  are  recognized  and  respected, 
and  how  unmolested  they  enjoy  the  privileges  of  Easter  Mon- 
day. 


36  Spring. 


"THE   EASTER   EGG-ROLLING. 

"  CHILDREN    SHAKE   HANDS   WITH   THE   PRESIDENT. 

"  The  crowd  in  the  White  House  grounds  greatly  increased  yesterday 
afternoon,  so  that  the  grounds  were  literally  packed  with  children.  The 
crowd  was  the  largest  and  best  appearing  that  has  collected  there  in  many 
years.  The  President  and  Colonel  Lamont  watched  the  children  for  some 
time  from  the  library  window. 

At  the  President's  reception  at  half-past  one  o'clock  hundreds  of  chil- 
dren gave  up  their  sport  temporarily  and  thronged  the  East  Room  to  shake 
hands  with  the  President." 

Easter  Egg  Games. 

In  the  game  they  play  at  Washington,  on  the  hills  sloping 
from  the  White  House,  the  child  whose  egg  reaches  the  foot  of 
the  hill  in  an  unbroken  condition  takes  the  one  worsted  in  the 
journey  down.  Another  game  for  two  is  played  by  knocking 
the  eggs  together  ;  each  child  holds  an  egg  firmly  in  his  hand 
so  that  only  the  small  end  is  visible,  and  then  the  two  eggs  are 
struck  against  each  other  until  one  is  cracked,  when  the  vic- 
torious player  adds  it  to  his  stock,  or  devours  it  on  the  spot.  I 
would  not  like  to  state  the  number  of  eggs  eaten  on  these 
occasions,  but  there  is  a  boy  (not  a  girl)  who  once  consumed 
fourteen  and  lived  to  tell  the  tale. 

Sometimes  the  egg  which  breaks  another  is  called  "  the 
cock  of  one,"  and  when  it  has  broken  two  it  is  "  cock  of  two," 
and  so  on.  When  an  egg  which  is  cock  of  one  or  more  is 
broken,  the  number  of  trophies  won  by  the  victim  is  added  to 
the  score  of  the  conquering  egg  and  it  becomes  "  cock  of  three  " 
or  more.  Here  is  a  game  which  comes  from  Germany,  and  al- 
though in  that  country  it  is  played  exclusively  by  boys,  there  is 
no  reason  why  the  girls  should  not  participate  in  it  as  well.  Two- 


Easter.  37 


baskets  are  necessary  for  this  game,  one  large  and  shallow  filled 
with  soft  shavings,  the  other  shallow  also,  but  smaller,  and  filled 
with  eggs.  The  plan  of  the  game  is  that  one  player  is  to  run  a 
given  distance,  while  another  safely  throws  the  eggs  from  one 
basket  to  the  other,  she  who  completes  her  task  first  being  the 
winner.  When  the  baskets  are  prepared,  and  the  distance  the 
eggs  are  to  be  thrown  decided  upon,  the  two  contestants  draw 
lots  to  determine  who  shall  run  and  who  shall  throw.  This 
settled,  the  player  who  throws  takes  the  basket  of  eggs,  and  one 
after  another  quickly  tosses  them  the  length  of  the  course  and 
into  the  basket  of  shavings,  which  is  placed  on  the  ground  at  the 
end  of  the  course  opposite  the  thrower.  In  Germany  this 
basket  is  held  by  an  assistant,  but  anyone  occupying  that  po- 
sition might  receive  some  severe  blows  from  the  hard  eggs 
thrown  by  unpractised  hands,  and  it  answers  the  purpose  just 
as  well  to  place  the  basket  on  the  ground.  Meantime  the 
other  player  runs  the  distance  (decided  beforehand)  to  an  ap- 
pointed goal,  marks  it  as  a  proof  of  having  touched  it,  and  should 
she  succeed  in  returning  before  all  the  eggs  are  thrown,  the  vic- 
tory and  prize  are  her  reward  ;  otherwise  they  belong  to  the 
thrower. 

The  game  finished,  a  prize  is  presented  to  the  successful  con- 
testant. Should  any  of  the  eggs  pitched  by  the  thrower  fail  to 
light  in  the  basket,  they  must  be  gathered  up  and  thrown  again 
before  the  runner  returns,  as  the  eggs  must  all  be  in  the  basket 
before  the  thrower  wins  the  game. 

"  Bunching  eggs  "  comes  from  Ireland,  and  is  played  in  very 
much  the  same  manner  as  the  game  played  with  a  slate  and 
pencil,  and  known  to  all  children  as  "  tit,  tat,  toe,  three  in  a  row." 
A  pan  or  large  dish  filled  with  sand  or  sawdust  is  set  upon  a 
table,  around  which  the  children  stand,  each  supplied  with  eggs  ; 
the  eggs  of  each  player  must  be  all  of  one  color,  and  unlike 
those  of  any  other  player.  The  object  of  the  game  is  for  each 


38  Spring. 


player  to  so  place  her  eggs,  standing  them  upright  in  the  sand, 
or  sawdust,  as  to  bring  five  in  a  row  touching  each  other. 

In  turn  each  player  puts  down  an  egg,  sometimes  filling 
out  a  row  for  herself,  at  others  cutting  off  the  line  of  an  oppo- 
nent ;  and  the  one  who  first  succeeds  in  obtaining  the  desired 
row  sings  out — 

"  The  raven,  chough,  and  crow, 
Say  five  in  a  row." 

Another  pretty  game  from  Ireland  called  "  Touch  "  is  played 
in  the  following  manner  : 

Six  eggs  of  the  different  colors — green,  red,  black,  blue, 
white,  and  gold  are  placed  in  a  row  in  the  sand  used  for  the  other 
game.  One  of  the  players  is  blindfolded  and  given  alight  wand 
or  stick,  with  which  she  must  touch  one  of  the  eggs,  while  at 
the  same  time  she  recites  these  lines  : 

Peggy,  Patrick,  Mike,  and  Meg, 
See  me  touch  my  Easter  egg  ; 
Green,  and  red,  and  black,  and  blue, 
Count  for  six,  five,  four,  and  two. 
If  I  touch  an  egg  of  white, 
A  forfeit  then  will  be  your  right ; 
If  I  touch  an  egg  of  gold, 
It  is  mine  to  have  and  hold. 

As  is  told  in  the  rhyme,  the  eggs  each  have  a  different 
value.  Green  counts  six  ;  red,  five  ;  black,  four  ;  and  blue, 
two  ;  and  the  gold  egg  is  worth  more  than  all  put  together,  for 
when  a  player  touches  that,  she  wins  the  game  and  a  forfeit  of 
an  egg  from  each  of  the  other  players.  The  white  egg  is  worth 
less  than  nothing,  since  it  not  only  has  no  value  but  whoever 
touches  it  with  the  wand  must  pay  a  forfeit. 

Each  player  is  in  turn  blindfolded  and  makes  her  trial,  keep- 
ing account  of  the  value  of  the  eggs  she  has  touched.  When  the 


Easter.  39 


sum  of  twenty  has  been  reached  by  anyone  the  game  is  ended, 
without  the  aid  of  the  gold  egg.  The  position  of  the  eggs  are 
changed  after  each  trial,  that  the  person  about  to  touch  them 
may  not  know  where  it  is  best  to  place  her  wand. 

Easter  Egg  Dolls. 

In  some  of  the  large  confectionery  stores  in  New  York  City 
may  be  found  at  Easter-tide  quaint  little  Easter  offerings,  look- 
ing at  first  sight  exactly  like  dolls'  heads  surmounted  by  pretty 
little  head-dresses.  As  dolls  are  not  peculiarly  appropriate  gifts 
for  Easter,  one  naturally  examines  them  closer,  to  ascertain  if 
there  is  anything  about  them  significant  of  the  day,  and  in  so 
doing  quickly  discovers  that  the  heads  are  not  made  of  wax  or 
china,  as  was  at  first  supposed,  but  are  simply  egg-shells  from 
which  the  eggs  have  been  blown,  leaving  the  shell  perfect. 
Little  faces  are  painted  upon  these  shells,  and  the  cunning  caps 
or  bonnets  are  made  of  tissue-paper. 

Now  it  is  our  purpose  to  teach  the  children  who  do  not  live 
in  New  York  and  have  never  seen  these  pretty  toys,  and  also 
those  who,  having  seen,  cannot  afford  to  purchase  them,  just  how 
to  make  some  of  these  little  men  and  women,  and  how  to  fashion 
a  variety  of  head-dresses  not  to  be  found  in  the  stores. 

To  begin  with,  select  several  nice  large  eggs,  those  of  a 
pinkish  yellow  are  preferable,  being  something  of  a  flesh-tint. 
These  eggs  should  be  blown,  or  the  shells  emptied  of  their 
contents ;  to  blow  them  make  a  small  hole  in  each  end  of  the 
shell,  and,  taking  it  gently  between  the  thumb  and  forefinger, 
put  one  hole  to  the  lips  ;  then  blow,  not  too  hard,  but  steadily, 
until  the  egg  has  all  run  out  of  the  other  end. 

The  face  must  be  painted  next,  and  to  those  who  know 
nothing  of  drawing  this  will  seem  no  easy  task,  until  by  care- 
fully observing  the  following  direction  they  will  find  that  it  is 


Spring. 


JYuat  a  Heai-lress 


Patterns  for  Head-dresses. 


Raster. 


in  the  power  of  anyone  to  produce  as  pretty  a  face  as  could 

be  wished  for. 

Among  picture-cards,  or  in  almost  any  juvenile  book,  may 

be  found   many  pretty  faces  of  a  suitable  size  which  can  be 

transferred  to  the  egg  in  this  way. 
Lay  a  piece  of  tracing-paper  over  the 
head  selected,  and  with  a  soft  lead- 
pencil  trace  carefully  all  the  lines  in- 
dicating the  features  ;  then  place  the 
paper  on  the  shell  so  that  the  pencil- 
marks  are  next  to  it,  and  with  a  hard 
pencil,  or  ivory  knitting-needle,  go 
over  the  lines  again,  thus  transfer- 
ring the  soft  pencil-marks  to  the  shell. 
Touch  up  and  strengthen  the  features 

with  a  fine  paint-brush  and  india-ink.     Anyone  understanding 

painting  may  color  the  face  in   natural  tints,  but  it  looks  very 

nicely  done  merely  in  outline. 

The  simplest  arrangement  for  holding  the  little  head  erect 

is  a  small  pasteboard  box  turned  upside  down,  and  having  a 

hole  cut  in  the  bottom  just  large  enough 

to  admit  the  small  end  of  the  shell  ;  this 

will  support  the  head  nicely,  and  also  form 

the  shoulders. 

Make  the  hair  of  raw  cotton  blackened 

with  ink,  and  fasten  it  on  the  head  with 

mucilage.     When  all  of  the  foregoing  di- 
rections  have  been  carried  out  it  is  time 

to  attend  to  the  head-dresses,  and  we  will 

begin  with  the  quaint  and  old-fashioned 

poke-bonnet.     Cut  this  bonnet  from  ordi-     The  old-fashioned  GM. 

nary  brown   wrapping-paper  after  the   pattern   shown   in  dia- 
gram ;  sew  together  the  ends  of  the  "  side  of  crown,"  then  sew 


42  Spring. 


the  curved  side  (which  is  cut  in  slits  as  shown  in  pattern,  and 
folded  back  as  indicated  by  dotted  line)  to  the  smallest  part  of 
brim;  fold  in  the  strips  marked  on  the  straight  "side  of 
crown"  and  fasten  on  the  "  top  of  crown  "  with  mucilage.  The 
trimming  for  the  bonnet  consists  of  a  fold  and  bow  of  colored 
tissue  paper. 

Make  the  man's  hat  of  shiny  black  paper  by  the  pattern  in 
diagram,  and  fasten  together  in  the  same 
manner  as  the  bonnet,  rolling  the  sides  of 
the  brim  when  finished.  Black  and  white 
tissue-paper  folded  to  fit  the  head,  as 
shown  by  the  dotted  lines  in  the  pattern, 
forms  the  head-dress  of  the  nun. 

By  copying  the  head-dresses  of  differ- 
ent  nations,  an  odd  and  curious  assembly 
of  these  Easter-egg  dolls   can  be  formed  ; 
but    that    must   be    worked    out    at    some 
The  Dude.  future  time,  for  we  have  yet  to  tell  how 

to  construct  some  Easter  toys  that  cannot  be  found  in  any 
store.  The 

Humpty  Dumpty 

who  "  sat  on  a  wall,"  and  the  "  Humpty  Dumpty"  who  "  had 
a  great  fall,"  must  have  been  like  the  one  I  am  about  to  de- 
scribe, made  of  an  egg  ;  for  it  is  pretty  certain  that  if  he  should 
fall,  "  all  the  king's  horses  and  all  the  king's  men  couldn't  put" 
this  "Humpty  Dumpty  together  again"  any  more  than  they 
could  the  other. 

The  diagram  shows  the  frame  of  this  little  fellow  and  how  it 
is  joined  together.  A  large  egg  should  be  chosen  ;  and  when 
the  contents  have  been  blown  from  the  shell,  four  holes  must 
be  pricked  in  it  for  the  arms  and  legs  to  pass  through,  as  shown 
in  the  diagram.  These  limbs  are  made  of  rather  fine  bonnet- 


Easter. 


43 


J 


Hurnpty  DuTnply's  trousers-  Wl^ 

= -J 


Diagram  of  Humpty  Dumpty. 


44 


Spring. 


wire,  the  piece  used  for  the  arms  being  about  eight  inches  long. 
The  hand  is  made  by  bending  up  one  end  of  the  wire  as  in  dia- 
gram, and  with  softened  beeswax  covering  the  loop  thus  formed. 
When  one  hand  has  been  finished  off  in  this  way,  the  other  end 
of  the  wire,  still  straight,  should  be  passed  through  one  :of  the 
holes  near  the  small  end  of  the  shell  and  out  through  the  one 

opposite,  then  bent  up  in- 
to a  hand  and  arm  in  the 
same  manner  as  described. 
The  wire  for  the  legs 
and  feet  must  be  ten  inches 
long.  The  diagram  shows 
how  it  is  bent  to  form  the 
feet.  On  this  frame,  wax 
can  easily  be  modelled  to 
look  like  a  foot ;  a  coating 
of  red  paint  will  add  to  the 
appearance,  as  red  boots 
look  well  with  the  costume 
to  be  worn.  The  wire  for 
the  legs  should  be  bent  in 
a  curve  in  the  middle  (see  diagram)  before  it  is  passed  through 
the  shell.  Again,  as  with  the  hands,  one  foot  must  be  finished 
and  the  legs  fastened  on  before  the  otRer  foot  can  be  made. 

The  figure  of  Humpty  Dumpty  being  thus  prepared,  his  face 
must  be  painted  ;  water-colors  are  the  best  for  this  purpose. 
The  jollier  the  expression  of  his  face,  the  funnier  the  little  man 
will  look. 

Patterns  for  trousers,  jacket,  and  hat  are  shown  in  the  dia- 
grams. The  trousers  should  be  cut  from  white  cotton  cloth  two 
and  a  half  inches  long  and  six  inches  wide.  A  slit  an  inch  and 
a  half  long,  cut  in  the  middle,  separates  the  legs  of  the  trousers, 
which  must,  of  course,  be  sewed  up.  Dotted  lines  at  top  and 


Humpty  Dumpty. 


Easter. 


45 


bottom  show  where  a  gathering  thread  should  be  run,  the  bot- 
tom gathers  forming  ruffles  around  the  ankles.  White  should 
also  be  used  for  the  jacket,  cutting  it  three  and  a  half  inches 
long  and  five  inches  wide.  The  shape  of  the  jacket  may  be 
seen  in  the  diagram,  dotted  lines  showing  where  the  sleeves  are 
to  be  gathered  around  the  wrist.  Collar  and  pockets  of  red — 
the  patterns  of  which  are  given — finish  the  little  garment.  A 
white  hat  four  inches  around  the  brim  and  two  inches  high  is 
decorated  with  a  band  of  red,  which  should  be  sewed  on  the 
edge  and  turned  up. 

When  dressing  Humpty  Dumpty,  fasten  his  garments  on  to 
his  body  here  and  there  with  glue,  which  will  hold  them  se- 
curely in  place.  The  hat  also  should  be  glued  to  his  head,  as 
it  is  difficult  otherwise  to  keep  it  on. 


Miss  Roily-poly. 

Little  Miss  Roily-poly,  who  decid- 
edly refuses   to   lie  down,  always  re- 
gaining an  upright  posture,  no  matter 
in  what  position  she  is  placed,  is  made 
in   the  following   manner  :    After  the 
contents  have   been  blown    from    the 
shell,  the  hole  of  the  small  end  is  en- 
larged   gradually  until   it   is   about  a 
half-inch  in  diameter  ;  the  shell  is  then 
placed    in    an    upright 
position  (a  box  with   a 
EL  hole  cut  in  it  just  large 
enough  to  hold  the  egg 

Miss  Roily-poly.  firmly    ^^     a    gQod 

stand)  and  melted  sealing-wax  is  poured   in  ;    on   top   of  this 
melted  lead  is  poured,  all  the  while  care  being  taken  to  keep 


46 


Spring. 


the  shell  perfectly  steady,  that  the  weight  may  fall  exactly  in 
the  centre  and  make  a  perfect  balance.  A  small  quantity  of 
lead  is  sufficient  for  the  purpose,  as  the  shell  is  so  very  light. 

Miss  Roily-poly  requires  no  limbs  ;  when  her  babyish  face 
is  painted  she  is  ready  for  her  costume.  The  dress  is  simply 
made  of  a  strip  of  colored  cloth,  and  is  two  inches  long  and 
seven  inches  wide.  The  white  apron  is  fastened  to  the  dress  as 


Tire  35 

r 

yAprovu 

Coiorei, 

1  1    whvte-     I  ! 

O.  j 

S3 


o.  } 


Diagram  of  Miss  Roily-poly. 

shown  in  the  diagram.  Sleeves  are  made  of  pieces  of  the  dress-, 
material  about  one  inch  long  and  one  and  a  half  inch  wide. 
They  are  rolled  up  and  fastened  with  needle  and  thread,  then 
sewed  on  to  the  dress  in  the  position  shown  in  the  diagram. 
Pockets  are  made  for  the  apron,  and  the  ends  of  the  sleeves 
tucked  in  them,  which  makes  it  appear  as  though  the  hands 
were  hidden  in  the  pockets.  The  cap,  made  of  the  same  ma- 
terial, or  of  a  color  harmonizing  with  the  dress,  is  four  inches 


Easter. 


47 


round  the  brim  and  one  inch  high  ;  it  is  sewed  together  at  the 
two  ends,  and  gathered  into  a  pompon  on  top,  as  is  shown  by 
the  dotted  lines  in  the  diagram.  A  little  glue  should  also  be 
used  to  fasten  this  dolly's  dress  and  cap  on. 

Mandolin. 


A   pretty  little   toy 
mandolin  is  made  of  the 
lengthwise  half  of  an 
egg-shell.     To  sep- 
arate the  shell  in 
this   way  it   is 
necessary 
to  pierce 
holes 


with   a  needle  along 
the  line  where  the  di- 
vision is  to  be  made, 
which   will  cause  it  to  break 
evenly  ;    or  the  egg  may  be 
boiled  hard  and   then  cut  in 
half  with  a  very  sharp  knife. 
Fig.  6  is  cut  from  stiff  paper, 
and  the  strings  drawn  with  pen 
and  ink  ;    then  the  shell  is  fast- 
ened to  it  on  the  opposite  side 
by  pasting  a  narrow  strip  of  white  tissue  paper 
over  the  edges  of  the  shell  and  frame,  joining 

The  top  of  the  handle 
down  a  little  and  a  narrow  rib- 
bon tied  to  it.  To  make  the 
mandolin  still  more  complete, 
paint  the  handle  mahogany 
color,  with  a  fine  needle  stitch 
on  strings  of  yellow  silk,  and  paint  the  egg-shell  into  pumpkin- 
like  divisions  of  yellow  and  mahogany. 


them  together. 


The  Mandolin. 


48 


Spring. 


The  Owl. 

To  turn  a  hen's  egg  into  an  owl  has  not  before,  I  imagine,  been 
thought  possible  ;  yet  it  is  easy  enough,  and  requires  but  a  very 


Wing. 


Diagram  of  Owl. 


short, time  to  accomplish  the  transformation,  when  one  knows 
just  how  to  go  to  work.     No  incubator  is  needed  to  hatch  this 

bird,  as  only  the  shell  is  used,  the 
contents  having  been  disposed  of 
in  the  manner  before  described. 
We  commence  the  formation  of 
the  little  owl  by  making  two  holes 
near  the  large  end  of  the  shell  in 
the  position  shown  in  diagram. 

By  looking  at  the  next  diagram 
the  manner  of  making  the  feet  and 
legs  may  be  seen.  A  short  piece 
of  wire  is  bent  in  the  shape  given, 
and  is  wrapped  on  to  a  longer 
wire  with  strong  thread,  thus  form- 
ing three  toes,  which  are  quite 
enough  for  a  bird  that  will  never  walk.  One  foot  made,  the 
wire  is  passed  through  the  shell,  having  first  been  bent  into  a 


Owl  Complete. 


Easter.  49 


curve,  as  in  the  description  of  Humpty  Dumpty.  When  the 
last  foot  has  been  fastened  on,  the  wire  should  be  pushed  back 
into  the  shell,  allowing  but  little  of  the  legs  to  show.  The 
wings  are  cut  by  the  pattern  given,  and  are  painted  to  resemble 
feathers  as  much  as  possible.  Brown  is  the  best  color  to  use, 
By  the  diagram  may  be  seen  how  the  head  and  body  are  painted. 

Maple-wax  Easter  Eggs. 

Empty  the  egg-shell  of  its  contents  and  open  a  place  at  the 
small  end  the  size  of  a  silver  dime.  Stand  it  in  an  upright  po- 
sition with  the  largest  opening  on  top,  and  leave  it  while  you 
prepare  the  maple-wax,  or  candy.  Mix  enough  water  with 
some  maple  sugar  to  dissolve  it,  and  set  on  the  fire  to  cook  ; 
when  it  will  harden  in  cold  water  it  is  done.  Carefully  fill  the 
egg-shell  with  the  hot  maple-wax,  and  keeping  it  in  an  upright 
position,  set  it  on  the  ice  to  cool.  When  the  wax  is  perfectly 
cold  and  hard,  paste  an  artificial  daisy  over  the  opening  in  the 
shell.  Maple-wax  is  the  nicest  kind  of  candy,  and  done  up  in 
this  way  will  remain  firm  and  hard  for  a  long  while  ;  and  there- 
fore these  maple-wax  eggs  make  excellent  Easter  gifts  to  send 
away  to  one's  friend  at  a  distance.  The  best  way  to  pack  them 
is  to  wrap  them  in  cotton  and  then  put  them  in  a  tin  baking- 
powder  box,  filling  up  the  interstices  with  cotton  to  keep  them 
from  knocking  about. 

The  box,  of  course,  must  be  wrapped  in  paper  and  tied  se- 
curely with  a  string.  Packed  like  this,  they  may  travel  safely 
all  over  the  United  States.  The  writer  sent  several  the  distance 
of  over  seven  hundred  miles,  and  they  arrived  at  their  destina- 
tion in  as  perfect  condition  as  when  they  left  her  hands. 

Bonbon  Box. 

Select  a  box  two  or  three  inches  high — a  round  one  is  best 
• — which  has  a  lid  that  covers  the  entire  box.  Cut  some  straw 


50  Spring. 

or  hay  in  pieces  long  enough  to  reach  from  the  top  to  the  edge, 
and  glue  it  on  the  sides  of  the  lid,  covering  them  completely. 
Prepare  as  many  halves  of  egg-shells  as  will  cover  the  top,  al- 
lowing a  space  one  inch  wide  around  the  edge.  Glue  the  shells 
down,  and  fill  up  the  spaces  between  with  straw.  Near  the 
edge,  on  the  opposite  sides,  glue  a  loop  of  narrow  white  rib- 
bon ;  these  loops  are  to  lift  it  with.  Then  glue  straw  on  all  the 
uncovered  parts  of  the  lid,  making  it  a  little  thicker  and  higher 
at  the  edges.  When  the  box  is  finished  it  resembles  a  nest  of 
eggs,  and  makes  an  appropriate  and  acceptable  Easter  gift. 

Easter  Cards. 

It  is   a  very  pretty  custom,  that   of  sending   Easter   cards, 
altogether  too  pretty  to  be  allowed  to  lapse  into  disuse,  as  many 

customs  which  are   merely  the  ex- 
pression of  sentiment  are  apt  to  do 
in  this  busy,   practical  country   of 
ours.     One  experiences  a  great  deal 
of  pleasure    in    selecting   from   the 
stock  of  beautiful  cards  found  in  the 
stores  just  before  Easter  those  that 
seem  suitable  for  one's  friends,  but 
more  pleasure  will  be  derived  from 
home-made    Easter   cards,   both   to 
the  sender  and  recipient ;    for  it  is 
true  that  into  everything  we  make 
we  put  a  part  of  ourselves,  and  into 
many  a  home-made  article  is  woven 
loving  thoughts  which  make  the  gift  priceless,  although  the  ma- 
terials of  which  it  is  composed  may  have  cost  little  or  nothing. 
Several   years  ago  the  writer  was  visiting  a  friend  in  the 
country  twenty  miles  from  the  nearest  town  where  Easter  cards 


Easter. 


could  be  purchased,  but  when  Easter  approached  we  sent  off 
our  cards,  just  the  same,  and  I  am  sure  our  friends  were  as 
pleased  with  them,  and  more  pleased,  than  if  they  had  been  of 
the  most  expensive  kind.  This  is  how  we  made  them  : 

It  was  an  early  spring,  and  the  woods  were  filled  with  wild- 
flowers,  anemones  and  violets  mostly  ;  these  we  gathered,  and 
arranging  them  in  small  bunches,  stuck  the  stems  through  little 
slits  cut  in  cards  or  pieces  of  heavy  paper,  as  they  are  some- 


Pattern  for  the  Chicken. 

times  fastened  in  books  when  pressed.  Underneath  the  bouquet 
we  wrote  the  name  of  the  person  for  whom  it  was  intended, 
with  some  friendly  message  appropriate  to  the  season,  and 
signed  our  own  names  ;  then  we  carefully  folded  each  in  writ- 
ing paper,  taking  pains  not  to  crumple  the  flowers,  and  enclos- 
ing them  in  envelopes,  sent  them  to  their  destination  through 
the  mail.  Any  kind  of  flowers  can  be  used  for  these  Easter 
cards,  and  instead  of  putting  the  stems  through  slits  in  the 


Spring. 


card,  they  may  be  tied  to  them  with  narrow  ribbon.  A  card 
to  be  sent  only  a  short  distance  should  be  put  in  a  box  just 
deep  enough  to  leave  room  for  the  flowers,  and  fastened  in 
some  way  to  keep  it  from  moving  about ;  in  this  way  it  will 
reach  its  destination  sweet  and  fresh. 

To  those  who  can  paint  their  Easter  cards  we  have  no  sugges- 
tions to  offer,  for  they  have  an  unlimited  supply  of  designs  at  their 
command,  and  with  their  power  of  decoration,  may  turn  almost 
anything  into  an  Easter  card,  from  a  piece  of  satin  ribbon,  upon 
which  they  sketchily  paint  a  spray  of  flowers,  to  an  elaborate 
picture.  A  few  suggestions  are  here  given  which  our  younger 
readers  may  like  to  carry  out,  as  the  cards  we  describe  are 
easily  made,  and  adapted  to  amuse  the  children. 

' '  Stepping  through  the  White  House  "  the  first  card  is  called, 
and  it  represents  a  little  chicken  breaking  through  its  shell. 
The  pattern  of  the  chicken  is  given  in  the  diagrams.  Fig.  7,  the 

head  and  neck,  is  cut  from  yellow 
flannel ;  Figs.  8,  9,  and  10,  the  main 
part  and  fragments  of  shell,  are  of 
white  paper,  and  Fig.  1 1,  the  feet,  of 
black  paper.  These  are  pasted  to  a 
tinted  card,  as  shown  in  illustration. 
The  eye  and  bill  are  made  black 
with  ink  or  paint. 

Little    Quakeress. 

Half  an  egg-shell,  with  the  face 
and  hair  painted   on   it,  forms   the 
The  Little  Quakeress.  head.     The  cap  is    made    of  white 

tissue  paper  cut  in  four  strips  ;  one,  for  the  crown,  is  six  and  a 
half  inches  long,  and  a  little  over  one  and  a  half  wide  ;  another, 
for  the  brim,  is  four  and  a  half  inches  long  and  one  inch  wide  ; 


Raster. 


53 


while  the  strings  are  each  three  and  a  half  inches  long,  and  one 
and  a  half  wide.  The  crown  is  plaited  in  the  centre,  the  brim 
folded  lengthwise  through  the  middle,  and  sewed  to  the  crown. 
The  strings  are  fastened  on  either  side  of  the  cap,  and  crossed 
in  front ;  then  the  cap  is  pasted  on  the  head,  the  surplus  paper 
folded  back,  and  the  whole  glued  on  a  card.  The  ends  of  the 
strings  are  also  fastened  to  the  card,  forming  a  Quaker  kerchief. 


CHAPTER  V. 


HOW  TO  MAKE  A  LAWN-TENNIS  NET. 


century,  as   some   claim, 
all  learn  to  play  tennis  ? 


ET  us  see  ;  it  was  that  old  medical  gen- 
tleman, Galen  the  Greek,  who  first 
wrote  upon  tennis,  speaking  of  the 
sport  as  healthy  exercise,  was  it  not  ? 
Well,  girls,  it  really  does  not  matter 
much  to  us  whether  he  was  the  first 
to  write  it  up  and  the  Greeks  the 
first  to  play  it,  or  whether  the  game 
originated  in  France  in  the  fifteenth 
What  we  want  to  know  is,  can  we 
Does  it  cost  much  ?  What  kind  of 
gowns  and  shoes  must  we  wear  ?  And  is  it  an  enjoyable  game  ? 
There  is  no  doubt,  we  think,  of  its  being  a  right  royal 
pastime,  as  it  has  been  called  both  the  "  king  of  games  "  and 
the  "game  of  kings;"  the  latter  because  it  was  enjoyed  by 
princes  and  nobles — so  much  enjoyed,  that  in  both  England  and 
France  edicts  were  published  forbidding  the  common  people  to 
play  it. 

Girls,  do  you  wonder  if  they  always  had  the  choice  of  courts, 
and  so  never  took  part  in  the  fun  of  spinning  the  racket  in  the 
air  while  the  adversary  called  out  "  rough  "  or  "  smooth  ;  "  or 
whether  they  played  as  we  do,  taking  their  defeats  pleasantly 
and  wearing  their  honors  gracefully,  while  always  doing  their 
very  best  ? 


Spring. 


They  must  have  played  well,  for  it  is  said  that  Louis  XL, 
Henry  II.,  and  Charles  IX.,  were  experts,  and  that  Henry  VIII. 
of  England  was  extremely  fond  of  the  sport. 

We  can  easily  learn  to  play  this  most  popular  and  exhilarat- 
ing of  games.  But  we  must  be  suitably  clothed  in  order  to 
thoroughly  enjoy  it  and  receive  all  the  benefit  the  recreation 
brings  to  both  mind  and  body. 

Flannel  seems  to  be  the  best  material  for  a  tennis  suit — it  is 
so  soft  and  yielding,  and  so  well  adapted  for  a  defence  against 

either  cold  or  heat. 
Then,  make  your 
tennis  gown  of  flan- 
nel ;  the  skirt  in 
plaits,  without  dra- 
pery ;  the  postilion 
basque  of  Jersey 
cloth,  soft  and  elas- 
tic, matching  the 
skirt  in  color. 

Sew  the  skirt  of 
your  gown  on  a 
sleeveless  waist, 
made  of  lining  or 
muslin.  The  Jersey 
will  fit  nicely  over 

this,  and  you  can  play  better  and  feel  far  more  comfortable 
than  when  the  weight  is  allowed  to  drag  on  the  hips.  For  it 
is  nonsense  to  attempt  to  take  part  in  any  athletic  game  unless 
you  can  have  perfect  freedom  of  action  ;  in  short,  you  should 
be  so  dressed  as  to  be  utterly  unconscious  of  your  clothing. 

Either  crochet  a  Tam  O'  Shanter  hat  or  make  one  of  the 
dress  material,  as  these  are  not  so  apt  to  fall  ofT  while  running  as 
a  straw  hat.  "  Last,  but  not  least,"  come  the  shoes.  Of  course, 


An  Old  Game. 


How  to  Make  a  Lawn-  Tennis  Net.         57 

rubber-soled  shoes  are  the  best.  But  if  these  are  not  to  be  had, 
remove  the  heels  from  an  old  pair  of  ordinary  shoes,  and  they 
will  do  very  well ;  heels  roughen  and  cut  the  courts. 

The  actual  cost  of  a  lawn-tennis  set  need  only  be  the  price 
of  the  rackets  and  balls,  and  rope  and  cord  necessary  when 
you  learn 

How  to  Make  a  Lawn-Tennis  Net, 

which  is  not  difficult. 

First  procure  two  pieces  of  cotton  rope,  three-sixteenths  of 
an  inch  in  size,  each  thirty-four  feet  long,  costing  about  twenty- 
five  cents  apiece.  Then  one  and  a  half  pound  of  hammock 


Stake.  Peg. 


twine  or  macrime  cord,  No.  24,  which  will  not  cost  more  than 
fifty  cents.  Next,  two  lengths  of  cotton  rope  for  guy-ropes, 
each  five  feet,  price,  both  included,  ten  cents  ;  making  the  total 

amount  $1.10  for  a  strong,  firm,  ten- 
nis net  which  will  prove  serviceable  and 
last  many  a  sea- 
son. 


Runner.  _ 

Fialf 


materials  necessary  are   all  home-made. 

rr*  i  .    ,  Runner  and  G-uy-rope. 

.      These   consist 

r,g/fc  )     of  two  stakes,  each  five  feet  long  (Fig. 
'       12).     Any  kind  of  a  strong  pole,  when 


sharpened  at  one  end  and  a  notch  cut 

at  the  other,  will  answer  the  purpose.  Four  pegs,  each  one  foot 
long  (Fig.  13).  These  may  be  easily  made  of  old  broomsticks. 
Four  runners  (Fig.  14),  each  five  inches  long,  one  and  a  quarter 
wide,  and  about  half  an  inch  thick,  with  holes  bored  near  each 


Spring. 


end  large  enough  to  allow  the  guy-rope  (Fig.  15)  to  pass 
through.  A  fid  or  mesh-stick  of  any  kind  of  wood  (Fig.  16), 
about  a  foot  or  ten  inches  long,  with  circumference  measuring 
three  inches.  A  hammock-needle  (Fig.  17),  nine  or  ten  inches 
long  and  one  wide,  which  may  be  bought  for  ten  cents,  or 
whittled  out  of  a  piece  of  ash  or  hickory  by  some  kind 
[*\  brother.  Tassels  are  not  necessary,  though  /"\ 
it  is  much  better  to  have  them,  as  they  make 
the  top  line  of  the  net  more  distinct  and  add 
to  its  appearance.  Make  about  forty  bright- 
colored  tassels  of  worsted,  or  bits  of  flannel 


Hammock- 
needle. 


cut  in  very  narrow  strips,  three  inches  long,  allowing  ten  or 
twelve  strips  to  each  tassel.  Commence  your  tennis  net  by 
first  threading  the  needle  ;  take  it  in  the  left  hand,  and  use  the 
thumb  to  hold  the  end  of  the  cord  in  place  while  looping  it 
over  the  tongue  (see  Fig.  18);  pass  the  cord  down  under  the 
needle  to  the  opposite  side,  and  catch  it  over  the  tongue.  Re- 
peat this  until  the  needle  is  full. 

Next,  take  a  piece  of  rope  thirty-four  feet  long,  and  make  a 


How  to  Make  a  Lawn- Tennis  Net.        59 


long  loop  in  one  end,  tying  the  knot  so  that  it  can  readily  be 
untied  again.  Throw 
the  loop  over  some 
convenient  hook  or 
door-knob  (Fig.  19) 
with  the  knot  at  the 
knob  or  hook.  Tie 
the  cord  on  the  needle 
to  the  loop,  place  the 
fid  or  mesh-stick  un- 
der the  cord  close  to 
the  loop  (Fig.  20), 
with  the  thumb  on  the 
cord  to  hold  it  in  place 
(Fig.  25),  while  you 
pass  the  needle  around 
the  mesh-stick,  and, 
with  its  point  toward 
you,  pass  it  through 
the  loop  from  the  top, 
bringing  it  over  the 
mesh-stick.  This  will 
make  the  first  half  of 
the  knot  (Fig.  21). 
Pull  this  tight,  holding 
it  in  place  with  the 
thumb  while  you 
throw  the  cord  over 
your  hand,  which 
forms  the  loop  as  seen 

in  Fig.  22.    Then  pass  Knot& 

the  needle  from  under 
through  the  loop,  pulling  it  tight  to  fasten  the  knot.     Hold  it 


6o 


Spring. 


in  place  with  the  thumb,  and  repeat  these  movements  for  the 
next  knot.  Fig.  23  shows  a  number  of  these  knots  finished, 
A  in  Fig.  23  is  a  knot  before  it  is  drawn  tight ;  B  in  Figs.  21, 
22,  23  is  the  string  that  runs  to  the  needle,  C  is  the  rope,  and 
D  is  the  mesh-stick.  About  two  hundred  and  sixty-four  of 

these  knots  or  meshes  will  make  the 
net  the  regular  length,  thirty-three 
feet. 

In  knitting  across,  the  meshes  will 
accumulate  on  the  fid  ;  shove  them 
off  to  the  left,  a  few  at  a  time,  to 
make  space  for  others.  When  the 
desired  number  of  meshes  are  finished 
to  form  the  first  row,  shove  them  all 
off  the  fid,  as  shown  in  Fig.  24. 

Begin  the  next  row  by  again  plac- 
ing the  fid  under  the  cord  (Fig.  24). 
Take  up  the  first  mesh,  drawing  it 
close  to  the  mesh-stick,  hold  it  in 
place  with  the  thumb  while  throwing 
the  cord  over  your  hand,  pass  the  nee- 
dle on  the  left-hand  side  of  the  mesh 
from  under  through  the  loop  (Fig.  25) ; 
pull  this  tight,  and  you  will  have  tied  the  common  knitting-knot. 
Repeat  this  with  all  the  loops  until  the  row  is  finished. 

When  it  becomes  necessary  to  thread  or  fill  the  needle,  tie 
the  ends  of  the  cord  with  the  knot  shown  in  Fig.  26,  which,  when 
properly  tightened,  cannot  slip.  Wrap  each  end  of  the  cord 
from  the  knot  securely  to  the  main  cord  with  strong  thread,  to 
give  the  net  a  neat  appearance. 

Continue  netting  until  the  net  is  three  feet  wide.  Then  un- 
tie the  rope,  and  spread  the  net  by  sliding  the  knots  apart,  and 
fasten  the  second  rope  to  the  bottom  of  the  net  by  tying  the  rope 


How  to  Make  a  Lawn- Tennis  Net. 


61 


securely  to  the  first  mesh  with  the  cord  on  the  needle  ;  then 
carry  the  rope  and  cord  to  the  next  mesh,  hold  the  rope,  cord, 
and  mesh  firmly  in  place,  and  throw  the  cord  over  your  hand, 
passing  the  needle  down  through  the  mesh  under  the  rope  and 

cord  out  through  the  loop  (Fig. 
27).  Pull  this  tight,  and  continue 
in  like  manner,  knitting  each  suc- 
cessive mesh  to  the  rope  until  the 
net  is  all  fastened  on.  Turn  back 
the  end  of  the  rope  and  -^-^^^ 
wrap  it  down  neatly  f^^?= 
with  strong  string 
(Fig.  28).  In  the  same  way  secure 
the  other  end,  and  also  the  ends  of 
the  first  or  top  rope. 

Fig.  25.  This  completes  the  lawn-tennis 

net  proper.  The  bright  tassels  can  now  be  tied  at  intervals 
along  the  top  of  the  net,  and  four  pieces  of  twine  fastened  on 
each  end  of  the  net  at  equal  distances  apart.  These  are  for 
tying  the  net  to  the  poles  (Fig.  29). 

To  erect  the  lawn-tennis  net,  plant  the  two  poles  firmly 
in  the  ground  a  little  over  thirty-three  feet  apart,  tie  the  net  to 
the  poles,  then  drive  in  the  pegs,  two  to  each  pole,  about  five 
feet  from  the  pole  (Fig.  30) ;  slide  a  runner  on  each  end  of  the 


two  guy-ropes  by  first  threading  the  rope  through  one  of  the 
holes  in  the  runner,  then  pass    the  rope  over   the  side  down 


62 


Spring. 


I 


through  the  other  hole  and  fasten  it  with  a 
knot  (Fig.  15).  Next  tie  around  the  notch 
in  the  top  of  the  poles  the  guy-ropes,  with 
runners  attached,  and  slip  each  loop  made 
by  the  runner  over  each  peg  (Fig.  31),  allow- 
ing the  rope  to  fall  in  the  groove  A  near 
the  top  of  the  peg  ;  tighten  the  rope  by 
pushing  up  the  runners.  The  stakes  are 
thus  held  in  position  by  ropes  running  out  to 
the  pegs  in  the  ground  (Fig.  30). 

Now  we  understand  how  to  make  and 
erect  a  lawn-tennis  net ; 
but  what  shall  we  do 
about  the  court  ?  Of 
course,  that  must  be  all 
ready  before  we  can  set 
up  the  net.  We  must 
now  learn  how  to  lay 
out  a 


Lawn-Tennis   Court. 


The  best  ground  for 
this  is  turf,  though  it  may  be  of  asphalt,  or 
earth  mixed  with  fine  gravel  ;  sometimes 
wood  is  used. 

The  diagram  on  page  64  (Fig.  32)  shows 
the  construction  of  a  lawn-tennis  court  for 
two,  three,  or  four-handed  games. 

Lay  out  the  court  with  a  hundred-foot 
measuring-tape,  by  marking  the  lines  with 
whitewash,  chalk,  paint,  or  plaster-of-Paris. 

First   the   side    line,    seventy-eight    feet, 


How  to  Make  a  Lawn  -  Tennis  Net.          63 

AB.  This  gives  you  one  side  of  your  court.  Then  the  base 
line,  thirty-six  feet,  AC,  which,  with  their  parallel  lines  CD  and 
DB,  form  the  boundaries  of  a  court  for  four- 
handed  games.  Now  lay  off  the  side  lines 
of  the  single  court,  EG  and  FH,  which  are 
parallel  to  the  others  and  four  and  a  half  feet 
inside  of  them.  Divide  the  court  across  the 

/Ftf3l  centre  by  the  net,  fastened  to  the  poles  O  and 

P.  The  lines  EF  and  GH  are  called  base 
lines.  Twenty-one  feet  from  the  net,  mark  the  service  lines, 
MN  and  TV.  Then  make  the  central  longitudinal  line,  IJ,  and 
the  court  is  complete. 

Now  everything  is  prepared  for  the  game.  Hold  your  racket 
firmly,  and  try  to  keep  the  ball  flying  over  the  net,  back  and 
forth,  as  often  as  possible. 

For  the  guidance  of  those  who  have  had  no  opportunity  of 
learning  to  play  lawn-tennis  the  following  rules  are  given,  as 
adopted  by  the  United  States  National  Lawn-Tennis  Associ- 
ation. 

First,  however,  we  would  say  that  it  is  not  necessary  always 
to  have  an  umpire  or  a  referee,  as  spoken  of  in  the 

Rules  for  Lawn-Tennis. 

THE   GAME. 

1.  The  choice  of  sides,  and  the  right  to  serve  in  the  first 
game,  shall  be  decided  by  toss  ;  provided  that,  if  the  winner  of 
the  toss  choose  the  right  to  serve,  the  other  player  shall  have 
choice  of  sides,  and  vice  versa.     If  one  player  choose  the  court, 
the  other  may  elect  not  to  serve. 

2.  The  players  shall  stand  on  opposite  sides  of  the  net ;  the 
player  who  first  delivers  the  ball  shall  be  called  the  server,  and 
the  other  the  striker-out. 


Spring. 


.  33 


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27  ft. 

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Ill 

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27  ft. 

N 

<H 

oo 

Q           Base  Linew 

36  ft.                      H 

LAWN-TENNIS  COURT. 


How  to  Make  a  Lawn-  Tennis  Net.         65 

3.  At  the  end  of  the  first  game  the  striker-out  shall  become 
server,  and  the  server  shall  become  striker-out  ;  and  so  on,  al- 
ternately, in  all  the  subsequent  games  of  the  set,  or  series  of 
sets. 

4.  The  server  shall  serve  with  one  foot  on  the  base  line,  and 
with  the  other  foot  behind  that  line,  but  not  necessarily  upon 
the  ground.      He  shall  deliver  the  service  from  the  right  to  the 
left  courts  alternately,  beginning  from  the  right. 

5.  The  ball  served  must  drop  between  the  service  line,  half- 
court  line,  and  side  line  of  the  court,  diagonally  opposite  to 
that  from  which  it  was  served. 

6.  It  is  a  fault  if  the  server  fail  to  strike  the  ball,  or  if  the 
ball  served  drop  in  the  net,  or  beyond  the  service  line,  or  out  of 
court,  or  in  the  wrong  court  ;  or  if  the  server  do  not  stand  as 
directed  by  law  4. 

7.  A  ball  falling  on  a  line  is  regarded  as  falling  in  the  court 
bounded  by  that  line. 

8.  A  fault  cannot  be  taken. 

9.  After  a  fault  the  server  shall  serve  again  from  the  same 
court  from  which  he  served  that  fault,  unless  it  was  a  fault  be- 
cause he  served  from  the  wrong  court. 

10.  A  fault  cannot  be  claimed  after  the  next  service  is  de- 
livered. 

11.  The  server  shall  not  serve  till  the   striker-out  is  ready. 
If  the  latter  attempt  to  return  the  service  he  shall  be  deemed 
ready. 

12.  A  service  or  fault,  delivered  when  the  striker-out  is  not 
ready  counts  for  nothing. 

13.  The  service  shall  not  be  volleyed,  i.e.,  taken,  before  it 
has  touched  the  ground. 

14.  A  ball  is  in  play  on  leaving  the  server's  racket,  except 
as  provided  for  in  law  6. 

15.  It  is  a  good  return,  although  the  ball  touch  the  net ;  but 

5 


66  Spring. 


a  service,  otherwise  good,  which  touches  the  net,  shall  count  for 
nothing. 

16.  The  server  wins  a  stroke  if  the  striker-out  volley  the  ser- 
vice, or  if  he  fail  to  return  the  service  or  the  ball  in  play  ;  or  if 
he  return  the  service  or  the  ball  in  play  so  that  it  drops  out- 
side of  his  opponent's  court ;  or  if  he  otherwise  lose  a  stroke, 
as  provided  by  law  1 8. 

17.  The  striker-out  wins  a  stroke  if  the  server   serve  two 
consecutive  faults  ;  or  if  he  fail  to  return  the  ball  in  play  ;   or 
if  he  return  the  ball  in  play  so  that  it  drops  outside  of  his  oppo- 
nent's court  ;  or  if  he  otherwise  lose  a  stroke  as  provided  by 
law  18. 

18.  Either  player  loses  a  stroke  if  he  return  the  service  or 
the  ball  in  play  so  that   it  touches  a  post  of  the  net  ;  or  if  the 
ball  touch  him  or  anything  that   he  wears  or  carries,  except 
his  racket  in  the  act  of  striking  ;  or  if  he  touch  the  ball  with  his 
racket  more  than  once  ;  or  if  he  touch  the  net  or  any  of  its  sup- 
ports while  the  ball  is  in  play  ;  or  if  he  volley  the  ball  before  it 
has  passed  the  net. 

19.  In  case  any  player  is   obstructed  by  any  accident,  the 
ball  shall  be  considered  a  let. 

20.  On  either  player  winning  his  first  stroke,  the  score  is 
called   15  for  that  player;  on  either  player  winning  his  second 
stroke,  the  score  is  called  30  for  that  player  ;  on  either  player 
winning  his  third  stroke,  the  score  is  called  40  for  that  player  ; 
and  the  fourth  stroke  won  by  either  player  is  scored  game  for 
that  player,  except  as  below  :   If  both  players  have  won  three 
strokes,  the  score  is  called  deuce  ;  and  the  next  stroke  won  by 
either  player  is  scored  advantage  for  that  player.     If  the  same 
player  wins  the  next  stroke,  he  wins  the  game ;  if  he  loses  the 
next  stroke   the  score  returns  to  deuce  ;  and  so  on,  until   one 
player  wins  the  two  strokes  immediately  following  the  score  of 
deuce,  when  game  is  scored  for  that  player. 


How  to  Make  a  Lawn-  Tennis  Net.          67 

21.  The  player  who  first  wins  six  games  wins  the  set  ;  ex- 
cept as  follows  :   If  both  players  win  five  games,   the  score  is 
called  games  all ;  and  the  next  game  won  by  either  player  is 
scored  advantage  game  for  that  player.     If  the  same  player  wins 
the  next  game,  he  wins  the  set  ;  if  he  loses  the  next  game,  the 
score  returns  to  games  all  ;  and  so  on,  until  either  player  wins 
the  two  games  immediately  following  the  score  of  games  all, 
when  he  wins  the  set.     But  individual  clubs,  at  their  own  tour- 
naments, may  modify  this  rule  at  their  discretion. 

22.  The  players  shall  change  sides  at  the  end  of  every  set; 
but  the  umpire,  on  appeal  from  either  player,  before  the  toss  for 
choice,  may  direct  the  players  to  change  sides  at  the  end  of 
every  game  of  each  set,  if,  in  his  opinion,  either  side  have  a  dis- 
tinct advantage,  owing  to  the  sun,  wind,  or  any  other  accidental 
cause  ;  but  if  the  appeal  be  made  after  the  toss  for  choice,  the 
umpire  can  only  direct  the  players  to  change  sides  at  the  end  of 
every  game  of  the  odd  or  deciding  set. 

23.  When  a  series  of  sets  is  played,  the  player  who  served  in 
the  last  game  of  one  set  shall  be  striker-out  in  the  first  game  of 
the  next. 

24.  The  referee  shall  call  the  game  after  an  interval  of  five 
minutes  between  sets,  if  either  player  so  order. 

25.  The  above  laws  shall    apply  to  the    three-handed    and 
four-handed  games,  except  as  below  : 

26.  In  the  three-handed  game,  the  single  player  shall  serve 
in  every  alternate  game. 

27.  In  the  four-handed  game,  the  pair  who  have  the  right  to 
serve  in  the  first  game  shall  decide  which  partner  shall  do  so  ; 
and  the  opposing  pair  shall  decide  in  like  manner  for  the  second 
game.     The  partner  of  the  player  who  served  in  the  first  game 
shall  serve  in  the  third,  and  the  partner  of  the  player  who  served 
in  the  second  game  shall  serve  in  the  fourth  ;  and  the  same  order 
shall  be  maintained  in  all  the  subsequent  games  of  the  set. 


68  Spring. 


28.  At  the  beginning  of  the  next  set,  either  partner  of  the 
pair  which  struck  out  in  the  last  game  of  the  last  set  may  serve, 
and  the  same  privilege  is  given  to  their  opponents  in  the  second 
game  of  the  new  set. 

29.  The  players  shall  take  the  service  alternately  throughout 
the   game  ;   a  player  cannot  receive  a   service  delivered  to  his 
partner  ;  and  the  order  of  service  and  striking  out  once  estab- 
lished  shall  not  be  altered,   nor   shall   the    striker-out  change 
courts  to  receive  the  service,  till  the  end  of  the  set. 

30.  It  is  a  fault  if  the  ball  served  does  not  drop  between  the 
service  line,  half-court  line,  and  service  side  line  of  the  court, 
diagonally  opposite  to  that  from  which  it  was  served. 

31.  In  matches,  the  decision   of  the  umpire  shall  be  final. 
Should  there  be  two  umpires,  they  shall  divide  the  court  be- 
tween them,  and  the  decision  of  each  shall  be  final  in  his  share 
of  the  court. 

ODDS. 

A  bisque  is  one  point  which  can  be  taken  by  the  receiver  of 
the  odds  at  any  time  in  the  set  except  as  follows  : 

(a)  A  bisque  cannot  be  taken  after  a  service  is  delivered. 

(&)  The  server  may  not  take  a  bisque  after  a  fault,  but  the 
srriker-out  may  do  so. 

One  or  more  bisques  may  be  given  to  increase  or  diminish 
other  odds. 

Half  fifteen  is  one  stroke  given  at  the  beginning  of  the 
second,  fourth,  and  every  subsequent  alternate  game  of  a  set. 

Fifteen  is  one  stroke  given  at  the  beginning  of  every  game 
of  a  set. 

Half  thirty  is  one  stroke  given  at  the  beginning  of  the 
first  game,  two  strokes  given  at  the  beginning  of  the  second 
game  ;  and  so  on,  alternately,  in  all  the  subsequent  games  of 
the  set. 


How  to  Make  a  Lawn-  Tennis  Net. 


69 


Thirty  is  two  strokes  given  at  the  beginning  of  every  game 
of  a  set. 

Half  forty  is  two  strokes  given  at  the  beginning  of  the 
first  game,  three  strokes  given  at  the  beginning  of  the  second 
game  ;  and  so  on,  alternately,  in  all  the  subsequent  games  of 
the  set. 

Forty  is  three  strokes  given  at  the  beginning  of  every  game 
of  a  set. 

Half  court :  The  players  may  agree  into  which  half  court, 
right  or  left,  the  giver  of  the  odds  shall  play;  and  the  latter 
loses  a  stroke  if  the  ball  returned  by  him  drop  outside  any  of 
the  lines  which  bound  that  half  court. 

THE   BALLS. 

The  balls  shall  measure  not  less  than  2^-J  inches,  nor  more 
than  2j  inches  in  diameter ;  and  shall  weigh  not  less  than  i^-f 
oz. ,  nor  more  than  2  oz. 


The  May-Pole  Dance. 


CHAPTER   VI. 

MAY-DAY. 

Ho  !  the  merrie  first  of  Male 

Bryngs  the  daunce  and  blossoms  gaie, 

To  make  of  lyfe  a  holiday. 

IN  the  merry  heart  of  youth  the  old  song 
still  finds  an  echo,  and  this  day,  with 
its  relics  of  pagan  customs,  celebrat- 
ing, in  the  advent  of  spring,  nature's 
renewed  fertility,  is  a  festival  full  of 
fun  for  the  children. 

Some  of  the  ceremonies  of  May- 
day, handed  down  from  generation  to 
generation,  were  brought  to  America 
in  old  colonial  days  by  the  English, 
but  owing,  perhaps,  to  the  stern  puri- 
tanical training  of  most  of  the  early 
settlers,  the  customs  did  not  thrive  here  as  in  the  mother  coun- 
try, and  many  of  them  have  died  out  altogether. 

May-day  is  one  of  the  many  holidays  still  celebrated,  that 
originated  among  the  pagans  ages  ago,  and  it  is  said  that  the 
practice  of  choosing  a  May-queen  and  crowning  her  with  flowers 
is  a  remnant  of  the  ceremonies  in  honor  of  Flora,  the  goddess 
of  flowers,  which  were  held  in  Rome  the  last  four  days  of  April 
and  the  first  of  May. 

There  was,  at  one  time,  a  very  pretty  custom  observed  in 


72  Spring. 

Merrie  England  of  fastening  bunches  of  flowering  shrubs  and 
branches  of  sycamore  and  hawthorn  upon  the  doors  of  those 
neighbors  whose  good  lives  and  kindly  habits  were  thus  recog- 
nized by  their  friends. 

The  maids  and  matrons  of  England  formerly  had  a  way  of 
their  own  of  observing  the  day.  On  the  first  of  May  they  would 
all  go  trooping  out  with  the  earliest  rays  of  the  morning  sun, 
to  bathe  their  faces  in  the  magic  dew,  which  glistened  upon  the 
grass  once  a  year  only,  and  was  supposed  to  render  the  features 
moistened  with  it  beautiful  for  the  next  twelve  months. 

When  the  writer  was  a  wee  little  girl  there  lived  next  door 
to  her  home  two  old  maiden  ladies,  who  always  kept  a  bottle 
of  May-dew  among  their  treasures.  Although  the  ladies  in 
question  had  long  since  passed  that  period  when  maidens  are 
supposed  to  be  lovely,  superstitious  persons  might  have  found 
confirmation  of  a  belief  in  the  power  of  the  dew,  when  they 
looked  upon  the  sweet  and  kindly  faces  of  these  old  maids. 
Faith  in  the  fabled  efficacy  of  May-dew  will  probably  lose  its 
last  adherents  when  the  two  old  ladies,  very  aged  now,  leave 
this  world  ;  but  other  pretty  customs,  from  which  all  the  super- 
stitious elements  seem  to  have  departed,  should  not  be  allowed 
to  die  out,  and  we  intend  this  chapter  on  May-day  sports  as  a 
reminder  that  May-day  is  a  holiday  and  should  be  fittingly  cele- 
brated by  the  older  girls  as  well  as  the  little  children,  who,  in 
these  times,  seem  to  be  the  only  ones  to  remember  the  day. 

May-day  Sports. 

A  May-day  custom,  and  a  very  pretty  one,  still  survives 
among  the  children  in  our  New  England  States.  It  is  that  of 
hanging  upon  the  door-knobs  of  friends  and  neighbors  pretty 
spring-offerings  in  the  shape  of  small  baskets  filled  with  flowers, 
wild  ones,  if  they  can  be  obtained  ;  if  not,  the  window-gardens 


May-Day. 


73 


at  home  are  heavily  taxed  to  supply  the  deficiency.  When  the 
dusky  twilight  approaches,  it  is  time  for  the  merry  bands  of 
young  folks  to  start  out  on  this  lovely  errand  of  going  from 
house  to  house,  leaving  behind  them  the  evidence  of  their  fly- 
ing visit  in  these  sweetest  of 
May-offerings.  Silently  ap- 
proaching a  door,  they  hang 
a  May-basket  upon  the  knob 
and,  with  a  loud  rap,  or  ring 
of  the  bell,  scamper  off,  and 
flee  as  though  for  life. 

These  little  Mayers  are 
sometimes  pursued,  but  few 
are  ever  caught,  for  the  recip- 
ients of  the  baskets  know 
that  to  capture  a  child,  carry 


Fig.  33. 


The  Straw  Basket. 


her  into  the  house  and  treat  her  to  sweetmeats,  usually  dear  to 
the  youthful  palate,  will  not  compensate  the  little  prisoner  for 
being  held  captive  and  thereby  missing  the  fun  going  on  among 
the  other  children. 


74  Spring. 


How   to    Make    May-baskets. 

The  dainty  little  baskets  which  are  used  by  the  Mayers  are 
generally  of  home  manufacture.  They  are  made  of  almost  any 
material,  and  in  a  variety  of  shapes.  Some,  constructed  of  card- 
board, are  covered  with  crimped  tissue-paper,  or  with  gilt, 
silver,  or  colored  paper.  They  are  never  large  unless  flowers 
are  plentiful,  and  even  in  that  case  a  small  basket  is  prettier. 

Our  first  illustration  represents  a  May-basket  made  of  straws. 
Fig.  33  shows  the  frame  of  this  basket,  for  which  three  straws 
seven  inches  long  are  required  ;  these  are  sewed  together,  two 
and  one-half  inches  from  the  bottom,  forming  a  tripod.  For 
the  sides  eighteen  straws  are  necessary,  six  on  each  side,  of 
graduating  lengths  ;  the  three  top  straws  being  five  inches  long 
and  the  lowest  ones  three  and  one-half  inches.  These  are  sewed 
to  the  frame,  log-cabin  fashion,  one  upon  another. 

The  bottom  of  the  basket  is  made  of  a  three-cornered  piece 
of  card-board  cut  to  fit  ;  three  straws,  two  and  one-half  inches 
long,  hold  the  base  of  the  frame  in  position.  A  handle  formed 
of  three  ribbons  finishes  off  this  May-basket  very  prettily ;  a 
ribbon  is  tied  to  each  corner  of  the  basket  ;  the  other  ends 
meeting  form  a  bow,  as  shown  in  the  illustration. 

Birch-bark  Baskets 

are  quite  appropriate  for  wild  flowers,  and  one  in  the  shape  of  a 
canoe  can  be  made  from  a  strip  of  bark  six  and  one-half  inches 
long  and  four  inches  wide.  Fig.  34  gives  the  pattern  of  this 
basket.  The  dotted  lines  show  where  the  ends  are  to  be  sewed 
together ;  a  ribbon  sewed  to  each  end  of  the  canoe  serves  for  a 
handle. 

Card-board  Baskets, 

cut  after  the  pattern  Fig.  35,  can  be  covered  with  gilt,  silver,  or 
crimped  tissue-paper  as  desired  ;  paper  lace  or  fringe  is  some- 


May-Day. 


75 


times  placed  around  the  edges  of  baskets  of  this  kind,  as  a 
border  to  rest  the  flowers  upon.  The  card-board  basket  shown 
in  illustration  is  joined  together  by  buttonhole  stitching  of  col- 
ored-silk floss  ;  slits  are  cut  in  two  sides  and  a  ribbon  slipped 


The  Birch-bark  Basket. 

through,  the  ends  of  which  are  tied  in  bow-knots  to  hold  them 
in  place. 

May-day  Combat. 

This  game,  although  suggested  by  the  ceremonies  which,  ac- 
cording to  Waldron,  usher  in  the  month  of  May  in  the  Isle  of 


76 


Spring. 


Man,  is  entirely  new  and  bids  fair  to  become  popular,  as  it  com- 
bines the  elements  of  beauty,  sentiment  and  mirth. 

A  number  of  young  people  separate  into  two  parties,  each 
having  its  queen  ;  one  the  Queen  of  May,  the  other  Queen  of 
Winter.  The  May-queen  and  her  attendants  should  be  decked 
with  flowers,  Winter  and  her  retinue  being  without  decoration. 

Equipped  with  the  ap- 
propriate implements  of 
warfare  between  the  two 
seasons,  namely,  a  wreath 
of  flowers  for  spring  and  a 
ball  of  raw  cotton,  or  wool, 
representing  snow,  for  win- 
ter, the  contending  forces 
draw  up  in  opposing  lines, 
the  space  between  being 
about  twelve  feet.  Each 
line  is  headed  by  its  re- 
spective queen,  who  holds 
her  missile  in  her  hand. 


The  Card-board  Basket. 


Fig.  35. 

The  game  is  commenced  by  the  two  queens  simultaneously 
tossing  the  wreath  and  ball  to  someone  in  the  opposite  line, 
whose  name  is  called  as  the  missile  is  thrown.  Should  the  per- 
son to  whom  it  is  thrown  fail  to  catch  it,  she  is  made  prisoner 
and  must  do  battle  on  the  other  side,  being  released  only  when 
she  succeeds  in  catching  the  missile  belonging  to  her  own  party. 


May-Day.  77 


When  the  wreath  and  ball  are  caught,  they  are  instantly 
tossed  back  to  the  opposite  rank,  and  so  the  game  goes  on. 
Hostilities  must  cease  when  prisoners  are  being  taken  or  released, 
to  be  recommenced  when  both  sides  announce  themselves  ready. 

If  either  queen  is  captured  she  is  ransomed  by  the  return  of 
all  the  prisoners  taken  on  her  side  ;  should  she  have  no  prisoners 
to  release,  the  game  is  ended. 

If  the  May-queen  and  her  forces  are  defeated,  they  must 
strip  off  their  floral  decorations  and  give  them  to  the  victors, 
who,  decked  in  these  trophies,  become  the  representatives  of 
Spring,  and  the  Queen  of  Winter  is  made  Queen  of  May  and  is 
crowned  by  her  vanquished  and  dethroned  opponent.  The  for- 
mer May-queen  and  her  retinue,  after  offering  their  congratula- 
tions, must  serve  as  attendants  on  the  triumphant  queen  and  do 
her  bidding. 

When  the  May-queen  proves  victorious  the  programme  is 
reversed,  and  Winter  and  her  party  become  the  subjects  of  May. 

The  May-pole. 

An  old  writer,  speaking  of  the  May-games  held  in  England, 
says,  "  Their  cheefest  Jewell  is  their  Maie-poole,"  and  to  leave 
the  May-pole  out  of  our  list  of  May-sports  would  indeed  deprive 
the  day  of  one  of  its  most  important  and  prettiest  features.  The 
appropriate  place  for  the  May-pole  is,  of  course,  out  of  doors  ; 
yet  the  climate  in  most  of  our  Northern  States  is  so  changeable 
and  uncertain  it  may  be  found  necessary  for  comfort  to  hold  the 
festivities  in  the  house,  and  in  that  case  the  following  directions 
for  erecting  the  pole  in  a  room  of  moderate  dimensions  will  be 
found  useful. 

How  to  Erect  a  May-pole  in  the  House. 

A  May- pole  from  ten  to  twelve  feet  high  is  as  tall  as  the 
ceilings  of  most  rooms  will  admit. 


7  8  Spring. 

The  pole  should  be  round,  smooth,  and  about  five  inches  in 
diameter  at  the  base,  growing  gradually  smaller  toward  the 
top. 

For  its  support  a  wooden  box  is  necessary,  the  average  size 
being  three  feet  long,  two  feet  wide,  and  one  foot  high.  Re- 
move the  top  of  the  box, 
and  directly  in  the  centre 
of  it  cut  a  hole  large  enough 
to  admit  the  pole.  Take 
two  sticks,  two  inches  wide, 
and  long  enough  to  fit 
lengthwise  in  the  box,  and 
two  shorter  ones  fitting  the 

box  crosswise,  and  nail  them  securely  in  the  position  shown  in 
Fig.  36,  driving  the  nails  from  the  outside  of  the  box.  Slip  the 
pole  through  the  hole  which  has  been  cut  in  the  top,  and  then 
stand  it  in  an  upright  position  between  the  four  sticks  in  the 
centre  of  the  box  (Fig.  37).  Be  sure  that  the  pole  stands  per- 
fectly straight ;  then,  before  nailing  down  the  top,  fill  the  box 
with  sand,  bricks,  or  stones,  packing  them  tightly  around  the 
pole ;  this  will  give  sufficient  weight  to  prevent  its  tipping. 
Nail  the  top  on,  and  cover  the  box  with  moss  or  green  cloth, 
and  bank  it  up  with  flowers. 

How   to  Dress   a   May-pole. 

In  olden  times  the  May-poles  were  painted  in  alternate 
stripes  of  yellow  and  black,  but  a  white  pole  is  prettier  and 
shows  the  decorations  to  better  advantage.  Tack  the  ends  of 
eight  or  ten  variously  colored  ribbons,  one  and  one-half  inch 
wide,  around  the  pole  near  the  top.  For  a  pole  ten  feet  high 
the  ribbons  should  be  four  yards  long.  Around  where  the 
ribbons  are  fastened  on,  suspend  a  wreath  of  flowers,  as  shown 


May-Day. 


79 


in  Fig.  38.     Decorate  the  extreme  tip  of  the  pole  with  gaily 
colored  streamers,  or  small  flags. 


May-pole  Dance. 

An  even  number  of  persons  are  required  for  this  dance; 
half  the  number  take  the  end  of  a  ribbon  in  the  right  hand  and 
half  in  the  left;  they  then 
stand  facing  alternately  right 
and  left* — When  the  dance 
commences,  each  dancer  fac- 
ing the  right  passes  under 
the  ribbon  held  by  the  one 
opposite  facing  the  leftf-she 
then  allows  the  next  person 
going  to  the  left  to  pass  un- 
der her  ribbon,  and  so,  trip- 
ping in  and  out,  under  and 
over,  the  ribbons  are  woven 
around  the  pole. 

After  continuing  for  a 
while,  according  to  the  above 
directions,  the  dancers  sep- 
arate into  two  equal  divi- 
sions, and  each  party,  inde- 
pendent of  the  other,  plaits 
a  strip  which  hangs  loosely  Fig.  37. 

from  the  pole. 

In  performing  this  variation  the  two  parties  stand  on  either 
side  of  the  pole,  and  all  those  facing  the  right  pass  on  in  that 
direction,  going  in  and  out  as  at  first,  until  the  last  person  go- 
ing to  the  right  has  passed  the  last  person  going  to  the  left  in 
her  division  ;  then,  transferring  the  ribbons  to  their  other  hands, 


8o 


Spring. 


they  all  turn  and  reverse  the  order.     Thus  they  continue,  going 

back  and  forth  until  the  plait  is 
about  a  foot  in  length,  when  an- 
other change  is  made  by  the  two 
parties  joining  forces  again  ;  this 
time,  all  those  facing  the  left 
proceed  in  that  direction,  pass- 
ing under  the  ribbons  of  all  the 
others  who  are  going  to  the  right, 
thus  forming  two  circles,  one 
within  the  other.  After  going 
twice  around  the  pole  in  this 
order,  the  dancers  composing 
the  inner  circle  take  the  outside 
and  the  others  pass  beneath  their 
ribbons,  again  circling  the  pole 
twice  ;  then,  after  going  through 
the  first  figure  once  more  the 
dance  may  be  ended,  or  the 
whole  order  may  be  reversed, 
and  the  ribbons,  in  that  way,  be 

Fig.  38.  .    .        , 

unplaited  again. 

An  appropriate  song,  with  words  set  to  a  dancing  air,  should 
be  sung  by  those  taking  part  in  the  May-pole  dance. 


C  -      "'• :: 

^^ 


CHAPTER   VII. 


MIDSUMMER  EVE. 


'N  the  minds  of  most  of  us,  midsummer  is 
associated  with  dry,  dusty  roads, 
parched  vegetation,  the  shrill  cry  of 
the  locust,*  the  shriller  notes  of  the 
mosquitoes,  and  the  hum  of  myriads 
;'••>...  of  other  insects  ;  but,  girls,  midsum- 
mer does  not  come  at  this  time  : 
astronomy  fixes  the  date  at  June 
2 1st,  the  longest  day  of  the  year, 
when  the  leaves  are  still  glossy  green  with  the  fresh  sap  cir- 
culating through  their  veins,  giving  them  that  healthy,  juicy 
look  so  refreshing  to  the  eye,  and  the  heat  of  the  sun  has  not 
yet  dried  to  a  white  powder  the  firm  country  roads  over  which 
we  delight  to  wander. 

Ages  ago  the  Pagans  used  to  celebrate  the  day  with  rejoic- 
ing, because  old  Sol's  bright  face  had  broken  loose  from  the 
clouds  of  winter,  and  the  rain  and  mists  of  spring.  They 
symbolized  the  revolution  of  the  season  by  rolling  great 
wooden  wheels  down  the  hill-sides  ;  sometimes  attaching  straw 
to  the  outer  circle  and  setting  fire  to  it  at  night,  making  a 
miniature  midnight  sun  as  it  dashed  down  the  steep  incline. 

The  people  also  believed  that  ill-luck  rolled  away  from  them 
with  the  fiery  wheel,  and  to  this  day  you  will  see  Fortune  or 


*  Cicada,  commonly  known  among  children  as  the  locust. 


rare  e°]f  r       t°k 


Midsummer-eve  Party. 


Midsummer  Eve.  85 

Misfortune  represented  as  travelling,  like  an  acrobat  at  a  circus, 
upon  a  wheel. 

All  the  elves,  brownies,  and  fays  were  supposed  to  be  on 
hand  at  midsummer  night,  and  it  is  this  old  superstition  that 
Shakespeare  has  so  beautifully  illustrated  in  his  "  Midsummer 
Night's  Dream." 

It  was  on  midsummer  eve  that  the  supposed  invisible  seeds 
of  the  fern  could  be  gathered  which  rendered  the  fortunate 
possessor  invisible  whenever  he  chose  to  carry  them  about  with 
him.  Among  other  strange  and  some  quite  pretty  superstitions, 
there  is  a  tradition  that  a  coal,  found  attached  to  the  roots  of 
the  mugwort  or  plantain  on  midsummer  eve,  will  keep  away 
misfortune  and  insure  good  luck  to  the  finder. 

The  girls  of  to-day  who,  although  advanced  enough  to  dis- 
card the  superstitious  element,  can  appreciate  the  poetic  ideas 
symbolized  by  these  ancient  rites,  may  take  hints  for  the  enter- 
tainment of  themselves  and  friends  from  the  old  belief  in  the 
mysteries  and  charms  of  midsummer  eve. 

Games  can  be  invented,  and  pretty  keepsakes  and  souvenirs 
exchanged  upon  this  night,  that  will  translate  ancient  paganism 
into  modern  good  feeling  and  fellowship. 

The  New  Fern-leaf  Game. 

Some  one  who  has  charge  of  the  games  shows  to  the  assem- 
bled girls  and  boys  a  fern-leaf,  and  explains  to  them  the  le- 
gend connected  with  it,  and  the  power  of  the  seed  to  render  the 
possessor  invisible.  Next  she  blindfolds  them  all;  then,  choos- 
ing one  from  among  them,  she  removes  the  bandage  from  the 
player's  eyes  without  allowing  the  others  to  know  who  has 
been  selected  to  be  the  bearer  of  the  magic  fern.  After  giving 
the  fern-leaf  into  the  keeping  of  the  chosen  one,  she  places  the 
latter  in  the  centre  of  a  ring  formed  by  the  rest  of  the  players, 
who  take  hold  of  hands  and  circle  round  ;  then,  still  holding 


86  Summer. 


hands,  they  forward  to  the  centre  and  return  ;  letting  go  hands, 

they  forward  again,  this  time  the  fern-bearer  joins  in  the  ranks. 

Once  more  the  ring  is  formed  and  they  circle  round,  singing 

these  lines  : 

Round  goes  the  wheel,  To  the  one  who  finds 

Round  goes  the  year,  The  seeds  of  the  fern, 

For  woe  or  for  weal,  Misfortune  and  evil 

Midsummer  is  here.  To  good  luck  will  turn. 

At  the  word  "  turn,"  each  player  seizes  another  and  cries 
out,  "fern,  fern  !  "  at  the  same  time  removing  the  handkerchief 
from  the  eyes. 

To  the  one  who  really  has  captured  the  magic  fern  a  pretty 
card  or  silk  badge,  bearing  a  pictured  fern  and  some  appropriate 
motto,  is  given,  as  a  token  that  the  entire  company  wish  all 
possible  good  luck  to  the  possessor. 

The  Plantain  Test. 

To  test  fortune  in  this  way,  fill  a  large  pan  or  bowl  with 
clean  dry  sand  ;  provide  as  many  plantain-plants  as  there  are 
players,  and  to  the  roots  of  all  but  one  tie,  with  a  narrow  ribbon, 
a  bonbon  which  contains  within  its  wrapper  a  verse  indicating 
that  the  wrong  plant  has  been  chosen.  To  the  one  reserved 
from  the  rest  attach  a  small  piece  of  coal,  or  charcoal,  wrapped 
in  a  bonbon  paper  which  also  encloses  a  verse  describing  the 
magic  powers  of  the  coal.  Place  all  of  the  plants  in  the  sand, 
making  them  look  as  though  growing  there.  All  this  should 
be  prepared  before  the  party  assembles,  that  no  one  may  know 
to  which  plant  the  coal  is  fastened. 

When  the  appointed  time  arrives,  explain  to  the  company 
that  to  the  root  of  one  of  the  plants  in  the  bowl  is  fastened  a 
coal  which,  according  to  old  superstition,  will  secure  to  the 
finder  perfect  health  for  life.  Then  let  each  person  in  turn  pull 


Midsummer  Eve. 


from  the  sand  one  of  the  plants.  The  one  |  who  finds  the 
coal  should  be  heartily  congratulated,  as  B  she  is  supposed 
to  have  gained  the  good  will  of  fortune  fir  and  to  be  ex- 
empt from  all  the  ills  that  flesh  is  heir  to.  j|  The  plantain  is 
not  difficult  to  secure,  as  it 
grows  in  almost  every  grass- 
plot,  much  to  the  annoyance 
of  those  who  take  pride  in 
their  lawns.  Should  the 
name  be  unfamiliar  to  some 
of  our  readers,  the  accom- 
panying illustration  will  help 
them  recognize  the  weed. 

A  pretty  charm  for  the 
watch-chain  can  be  made  of 
the  coal  which  is  to  bring  the 
finder  such  good  luck,*  by 
having  it  cut  to  a  proper  size 
and  shape,  and  a  gold  or  sil- 
ver band  put  around  it.  This 
will  make  it  a  souvenir,  carry- 
ing out  the  old  idea  that  the 
magic  coal  should  be  worn 
upon  the  person  to  bring 
the  coveted  good  fortune. 

Rhymes  to  be  enclosed  in  the  paper  with  the  magic  coal : 


Magic  Plantain. 


Where  my  roots  are  intertwined 
Lo,  the  magic  coal  you  find. 
Buried  deep  beneath  the  sand, 
Waiting  for  your  favored  hand, 


*  Cannel  coal  is  the  best  to  use,  for  it  is  hard,  will  take  a  high  polisfa 
like  jet,  and  can  be  carved  with  a  pen-knife. 


88  Summer. 


I  have  held  it  free  from  harm  ; 
Take,  and  wear  the  mystic  charm. 
From  the  lightning's  deadly  stroke, 
From  the  fire  it  may  invoke, 
From  all  illness,  pain,  and  strife, 
May  it  guard  thee  safe  through  life. 

Rhymes  to  be  enclosed  in  bonbons  tied  to  the  roots  of  plan- 
tains which  do  not  bring  good  luck  : 

Though  ye  seek,  ye  seek  in  vain 

Fortune's  favor  thus  to  gain, 

For  I  bring  to  you  no  coal 

To  write  your  name  on  Fortune's  roll. 


Pity  'tis  you  thought  it  best 

To  pick  out  me  from  all  the  rest, 

For  no  root  of  mine  comes  near 

The  coal  that  brings  good  fortune  here. 


Chance  capricious,  captures  choice  ; 
Fickle  Fortune  favors  few  ; 
When  deaf  to  love,  or  reason's  voice, 
What  makes  you  think  she'll  favor  you  ? 


I  am  no  messenger  of  fate, 
You  find  this  out,  alas  !  too  late  ; 
I  bring  no  magic  coal  with  me, 
From  pains  and  ills  to  set  you  free. 

Any  bright  girl  can  scribble  off  little  jingles  of  this  sort  that 
will  do  very  well  for  the  plantain  test,  or  appropriate  quotations 
may  be  selected  for  the  purpose. 

Fortune's  Wheel. 

Just  where  Fortune  will  fail  each  member  of  the  company 
present  is  discovered  in  the  following  game  : 


Midsummer  Eve. 


The  entire  party  forms  into  a  circle,  standing  about  two  feet 
apart ;  then  a  wheel  or  hoop  is  started  around  the  inside  of  the 
ring,  and  kept  going  by  each  one  giving  it  a  gentle  push  with 
the  hand,  sending  it  to  the  person  next  in  the  circle.  As  the 
wheel  goes  around  the  players  sing  these  lines,  pronouncing  a 
word  as  each  player  touches  the  wheel,  as  if  counting  out. 

Fortune's  wheel  we  speed  along 

The  while  we  sing  our  mystic  song. 

Bring  happiness,  fame,  power,  and  wealth, 

True  love,  long  life,  good  friends,  and  health, 

Suctess  in  music,  poetry,  art, 

And  with  it  all  a  merry  heart. 

When  the  wheel  drops  at  the  feet  of  anyone  as  a  gift  of  For- 
tune is  being  sung,  or  if  they  fail  to  strike  it  as  it  passes,  or, 
striking,  they  send  it  into  the  centre  of  the  ring  instead  of  to 
their  next  neighbor,  it  denotes  that  Fortune  will  withhold  that 
special  gift  from  them,  and  they  must  leave  the  circle,  for  good 
luck  has  deserted  them. 

The  game  continues  until  only  one  player  remains,  and  this 
person,  who  has  succeeded  in  keeping  the  wheel  moving,  is 
Fortune's  favorite,  and  will  possess  all  the  gifts  the  mythical 
Goddess  can  bestow. 


Starfish  Fortifere 


CHAPTER   VIII. 


SEA-SIDE    COTTAGE    DECORATION. 

IMPLY  to  enter  a  house  is  enough 
to  start  some  people  to  planning 
how  it  can,  might,  or  should  be 
decorated.  The  love  of  beauty 
seems  to  be  inherent  in  the  femi- 
nine character,  and  it  is  the  nature 
of  most  girls  to  make  their  sur- 
roundings as  beautiful  as  circum- 
stances will  permit.  Those  who 
have  taste  and  ability  for  decora- 
tion can  see  no  barren  or  homely 
room  without  being  seized  with 
the  desire  to  banish  its  uncomeliness,  and  substitute  grace  and 
beauty  in  its  stead. 

The  ordinary  cottage  at  the  sea-shore  is  a  boon  to  such 
natures,  for  it  is  peculiarly  well  adapted  to  amateur  decoration. 
Its  ceiled  walls  offer  plain,  even,  flat  tinted  surfaces  for  any 
kind  of  ornamentation,  and  the  absence  of  plaster  makes  it  pos- 
sible to  drive  nails  wherever  it  is  desirable  to  have  them. 

During  a  summer  spent  in  one  of  these  cottages  on  the  coast 
of  Maine,  its  many  possibilities  in  the  way  of  decoration  were 
revealed,  and  personal  experience  has  demonstrated  that  even 
the  plainest  of  these  temporary  abiding-places  is  capable  of  be- 
ing greatly  beautified  in  a  short  time,  and  with  materials  usually 


92 


Summer. 


Diagram  of  Ring. 


close  at  hand,  being  obtainable  from  the  fishermen  and  from  the 
sea  itself. 

The  windows  first  claim  our  attention  in  any  house  and  our 
little  cottage  is  no  exception  to  the  rule.  With,  or  without,  the 

regulation  shades,  windows  should 
always  be  draped  ;  the  formality  of 
their  straight  lines  and  angles  can  be 
subdued  in  no  other  way. 

Light,  airy   curtains  are  suitable 
for  summer,  and  the  prettiest,  most 
graceful  window-drapery  imaginable 
can  be  made  of  ordi- 
nary  fi  s  h-n  e  t .     An 
oar  for  a  pole  ;    rings 
made    of   rope    (Fig. 
39)  ;     the    looping 

formed  of  a  rope  tied  in  a  sailor's  knot  ;  ^nd  a 
wooden  hoop,  such  as  is  used  to  attach  the  sail 
to  the  mast  on  a  sail-boat  (Fig.  40)  are  all  that 
are  necessary  for  the  completion  of  this  nautical 
curtain.  Small  rings  screwed  into  the  oar,  with 
corresponding  hooks  in  the  window-frame  just 
above  the  window,  will  hold  the  oar  securely  in 
place.  The  looping  should  hang  from  a  hook 
fastened  in  the  wall  near  the  window.  The  il- 
lustration given  here  will  aid  the  imagination  in 
picturing  the  effect  of  a  window  treated  in  this 
simple  manner.  Another  pretty  curtain  may 
be  made  of  unbleached  cotton,  with  bands  of  blue  at  top  and 
bottom  covered  with  the  ever-  decorative  fish-net. 

Gray  linen  curtains,  with  strips  of  the  net  set  in  as  in- 
sertion at  top  and  bottom,  will  also  be  found  extremely 
pretty  and  serviceable  ;  or  they  may  be  composed  of  strips 


Looping  for  Cur- 
tains. 


Sea-side  Cottage  Decoration. 


93 


of  linen   and   net,   of  equal   width,  running-  the  length  of  the 
curtain.      Made  up  in  either  way  the  effect  is  excellent. 


Sea-side  Cottage  Window. 


From  window-drapery  we  will  turn  to  that  suitable  for  the 
door-ways.     Portieres,  in  a  room  where  the  prevailing  tints  are 


94 


Summer. 


gray  and  light  wood-color,  should  not  present  too  violent  a  con- 
trast to  those  subdued  tones.     A  curtain  of  wood-brown,  neither 


Diagram  of  Tying  Knot. 


Fig.  42. 


Fastening  End  of  Rope. 

too  dark  nor  too  light,  will  give  the 
needed  strength  and  decision,  with- 
out destroying  the  harmonious  col- 
oring. 
One 
can  be 

quickly    and    easily    made    of  brown 

canton    flannel    and    decorated    with 

dried  starfish,  as  shown  in  the  illus- 
tration of  the  starfish   portiere.     The 

starfish   are  soft  enough  to  admit  of 

being  sewed  to  the  curtain,  and  they 

should  be  placed  with  the  underside 

out,  as  that  is  much  prettier  than  the 

back,  showing  as  it  does  two  shades 

of  color.     A  heavy  rope  with  a  knot 

at  each  end,  stretched  taut  across  the 

door-way  and  held  in  place  with  two 

hooks,  will  answer  for  a  pole,  and  the 

drapery  can  be  hung  from  it  with  iron 

rings.      If  the  rope  is  very  heavy  the 

ends  will  have  to  be  parted  into  strands  before  the  knots  can 

be  tied.     Figs.  41  and  42   show  the  manner  of  tying  the  knot 

and  fastening  the  end  of  a  moderately  heavy  rope. 


Diagram  of  Book-shelves. 


Sea-side  Cottage  Decoration. 


95 


Book-shelves  made  of  half  of  a  flat-bottomed  row-boat  is  not 
only  an  appropriate  piece  of  furniture 
for  a  cottage  by  the  sea,  but  also  a  very 
useful  one.     The  fact  of 
its  shape  allowing  it  to 


occupy  a  corner  makes  it  a  welcome  addition  to  the  furnishing, 
since  there  are  so  few  things  adapted  to  fill  that  angle.     Fig.  43 


96 


Summer. 


shows  half  of  boat  with  cleats  nailed  on  to  hold  the  shelves, 
which  must  be  made  to  fit  the  boat.  The  shelves,  when  resting 
on  the  cleats,  are  secure  enough,  and  need  not  be  fastened  in 
any  other  way.  If  the  book-shelves,  when  finished,  are  painted 
black,  unvarnished,  they  will  have  the  appearance  of  being 
ebonized. 

The  evidence  of  a  womanly  presence  in  the  shape  of  a  dainty 


Diagram  of  Crab-net  Work-basket. 

work-basket  always  gives  a  home-like  look  to  a  room,  and  when 
this  useful  trifle  happens  to  be  prettily  designed  it  contributes 
not  a  little  to  the  decorations.  The  standing  work-basket  rep- 
resented here  is  manufactured  of  a  crab-net,  with  the  handle 
removed,  fastened  to  a  tripod  stand. 

The  tripod  may  be  made  of  bamboo,  or  any  kind  of  straight 
sticks  about  the  length  of  a  walking-cane.     Upon  one  of  the 


Sea-side  Cottage  Decoration. 


97 


sticks  two  notches  must  be  cut ;  one  exactly  in  the  centre,  and 
the  other  at  one  side  just  below  (see  Fig.  44).  The  second  stick 
needs  but  one  notch,  which  should  match  the  upper  one  on  the 
first  stick  (Fig.  45).  The  third  stick  has  no  notches. 

To  fasten  them  together,  Fig.  45  must  be  laid  across  Fig.  44 
as  in  Fig.  46,  and  the  two  fastened  together  with  screws.     The 
third  stick   must  then  be  placed 
across  the   others,    fitting  in   the 
two  upper  notches  ;  this  must  be 
secured  with  two  screws,  one  pass- 
ing  through    each    of   the    other 
sticks  (Fig.  47). 

The  stand  when  finished 
should  be  painted  black,  and  the 
crab-net,  which  has  previously 
been  gilded,  fastened  in  place  by 
tying  it  on  to  each  stick  with  a 
cord  and  tassel  made  of  rope  and 
gilded.  Notches  cut  in  the  sticks, 
about  three  inches  from  the  top, 
will  afford  a  resting-place  for  the 
cord  and  keep  it  from  slipping. 

The  hat-rack,  which  our  draw- 
ing represents,  makes  an  excel- 
lent and  convenient  hall-decora- 
tion. The  materials  used  in  its 
construction  are  a  small  mirror, 
which  can  be  procured  at  any  country  store  ;  four  boards, 
whose  length  and  breadth  depend  upon  the  size  of  the  mirror ; 
two  oars,  with  one-third  of  each  handle  sawed  off;  one  dozen 
large-sized  nails,  or  small  spikes,  and  a  piece  of  rope  about 
twelve  feet  long.  The  frame  is  made  by  nailing  the  boards  to- 
gether as  shown  in  illustration,  placing  the  end-boards  on  top. 
7 


Crab-net  Work-basket. 


98 


Summer. 


The  opening  left  in  the  centre  should  be  one  inch  smaller  than 
the  mirror.     When  eight  of  the  spikes  have  been  driven  into 

the  frame  at  regular  distances 
the  mirror  must  be  fastened 
on  the  back  with  strips  of 
leather  or  sail-cloth,  as  shown 
in  diagram  (Fig.  48).  The  di- 
agram also  shows  how  the 
oars  are  held  in  place  and 
the  rope  attached.  The  knot 


in  which  the  rope  is  tied  is 
called  a  true-lover's  knot, 
and  can  readily  be  fash- 
ioned by  studying  the  dia- 
gram. Small  nails  driven 
through  the  rope  where  it 
crosses  the  back  of  the  oar 
will  keep  the  loops  from 
slipping  out  of  place.  The 
remaining  four  spikes  are  to  suspend  the  hat-rack  from,  and 
must  be  driven  into  the  wall  so  that  two  will  hold  the  top 


Sea-side  Cottage  Decoration.  99 

loop,  and  the  others  the  extreme  upper  corners  of  the  side 
loops. 

The  frame  and  oars  may  be  painted  black  and  the  spikes  and 
ropes  gilded,  or  the  whole  will  look  well  painted  yellow  or  brown. 

A  handsome  screen  can  be  made  in  the  following  manner  : 
Procure  a  nice,  firm  clothes-horse,  saw  off  the  legs  close  to  the 
bottom  cross-piece,  then  cover  the  whole  neatly,  on  both  sides, 
with  dark  green  cambric.  Next  tack  smoothly  on  one  side  of 
each  fold  light-brown  wrapping-paper,  which  comes  quite  wide, 
and  may  be  bought  by  the  yard.  For  the  border  use  dark- 
green  canton  flannel  cut  in  strips  eight  inches  wide.  Tack  this 
around  each  fold  of  the  screen  with  gimp-tacks,  and  paste  the 
inside  edges  smoothly  over  the  paper. 

The  decorations  of  the  screen  shown  in  the  illustration  are 
composed  entirely  of  products  of  the  sea. 

Two  panels  are  shown.  One  is  decorated  with  sea-weed, 
dried  starfish,  and  shells.  Sea-weed  and  shells  also  are  used 
on  the  other,  but  a  group  of  horseshoe  crabs  take  the  place  of 
the  starfish. 

Sea-weed  of  various  kinds  suitable  for  this  use  can  be  found 
along  the  coast,  and  they  may  be  gathered  and  dried  in  this 
way.  Loosen  the  sea-weed  from  whatever  it  is  attached  to,  and 
while  still  in  the  water  slip  a  piece  of  stiff  paper  beneath  it  and 
lift  it  out.  Quite  a  number  can  be  carried  on  the  same  paper, 
but  they  should  be  taken  home  as  soon  as  possible  and  placed 
in  a  tub  of  fresh  water.  The  tub  will  give  the  larger  kinds  room 
to  spread  out,  when  a  smaller  vessel  would  cramp  and  rumple 
them.  On  sheets  of  paper,  of  the  kind  used  for  the  screen, 
carefully  lift  each  sea-weed  out  of  the  water,  and  with  a  small 
camel-hair  brush  straighten  the  parts  that  are  too  much  folded, 
and  separate  those  that  lie  too  closely  together.  Should  a  plant 
be  very  much  crumpled  when  taken  out,  quickly  replace  it  in 
the  water  and  try  again. 


100 


Summer. 


Marine  Screen. 


Sea-side  Cottage  Decoration. 


101 


When  they  have  all  been  satisfactorily  spread  on  the  paper 
and  have  become  partially  dry,  they  must  be  pressed  by  laying 
the  paper  which  holds  the  sea- weed  on  a  piece  of  blotting-paper 
or  folded  newspaper,  and 
over  it  a  piece  of  linen  or 
fine  cotton  cloth  ;  then 
over  that  another  piece  of 
blotting-,  or  news-paper  ; 
then  again  the  paper  with 
sea-weed,  and  so  on  ;  when 
all  are  finished  the  entire 
heap  should  be  placed  be- 
tween two  boards  with  a 
moderately  heavy  weight 
on  top.  When  the  sea- 
weed is  quite  dry — which 
it  will  be  in  three  or  four 
days — it  will  be  found  that 
some  varieties  will  cling 
closely  to  the  paper  on 
which  they  have  been 
spread,  while  others  can 
readily  be  removed.  Do 
not  try  to  separate  the  first- 
mentioned  kind  from  the 
paper,  but  with  sharp 
scissors  neatly  trim  off  the 
edges  around  the  weed ; 
the  paper  underneath  be- 
ing the  same  as  that  of  the 
screen  on  which  it  is  to  be  pasted,  it  will  not  show.  The  other 
sea-weed  can  be  taken  from  the  paper  and  fastened  to  the 
screen  with  mucilage. 


Horseshoe  Crab  Bag. 


102 


S^lmmer. 


Vase. 


Before  commencing  the  decoration  some  idea  of  the  design, 
or  the  effect  to  be  produced,  should 
be  decided  upon  ;  then  with  deft  fin- 
gers the  articles  used  can  be  glued 
in  place.  When  the  glue  is  dry  the 
whole  must  be  given  a  coat  of  white 
varnish.  This  will  help  to  hold  things 
in  place,  and  will  also  keep  the  sea- 
weed from  chipping  off. 

An  odd  little  bag  for  holding 
fancy  work  is  made  of  two  large 
horseshoe  crab  shells,  with  a  satin 
bag  fastened  between  them  and  tied 
at  the  top  with  a  bow  of  ribbon.  The  main  part  of  the  bag  can 
be  of  cambric  the  color  of  the  satin,  cut  to  fit  the  shells,  the 
puff  showing  at  the  sides 
being  of  the  satin. 

A  pretty  little  vase  can 
be  made  of  the  shells  of 
three  sea-urchins,  of  grad- 
uating sizes,  placed  one 
upon  another,  the  smallest 
on  top.  The  small  hole 
in  the  bottom  of  the  larg- 
est one  should  be  filled  up 
with  damp  plaster-of-Paris- 
which  will  harden  very 
quickly.  The  other  two 
shells  must  have  the  small 
holes  enlarged  to  the  size 

of  the  one  at  the  top  ;  they  Candlestick. 

can  then  be  joined  togeth- 
er with   the  plaster,  and  the  vase  be  used  for  flowers   or  vines. 


Sea-side  Cottage  Decoration.  103 

A  sea-urchin  and  good-sized  starfish  make  the  prettiest  kind 
of  a  candlestick,  and  the  addition  of  a  brass-headed  tack  on 
every  point  but  one  of  the  starfish  gives  it  a  nice  finish  and 
furnishes  feet  for  it  to  stand  on  ;  the  point  left  without  a  foot 
forms  the  handle  by  which  it  may  be  carried.  The  tacks 
should  be  stuck  into  the  fish  first,  and  then  the  sea-urchin 
fastened  on  with  plaster-of-Paris.  Not  more  than  ten  min- 
utes are  consumed  in  making  a  candlestick  of  this  kind,  and 
it  will  be  found  to  be  quite  as  useful  as  it  is  pretty  and 
unique. 

The  walls  of  the  cottage  can  be  decorated  in  many  ways 
with  the  beautiful  ornaments  the  sea  furnishes.  Over  one  of 
the  doors  in  the  cottage  alluded  to  at  the  beginning  of  this 
chapter  there  was  an  ornamentation  that  looked  exactly  like 
wood-carving,  but  was  only  a  group  of  starfish  arranged  and 
tacked  on  the  wall  in  a  decorative  form.  The  fish  being  nearly 
the  exact  color  of  the  background,  the  deception  was  almost 
perfect. 

If  the  walls  of  a  room  are  divided  off  into  panels,  and  each 
panel  decorated  in  the  manner  described  for  the  screen,  the 
effect  will  be  most  exquisite. 

On  entering  such  a  room  one  might  almost  imagine  one- 
self to  be  a  mermaid,  and  this  a  lovely  chamber  beneath  the 
sea. 

So  much  can  be  done  by  one's  own  hands  it  depends  great- 
ly, if  not  entirely,  upon  the  taste  or  time  one  is  willing  to  de- 
vote to  it  what  this  sea-side  habitation  shall  be  ;  whether  the 
little  cottage  shall  be  in  harmony  with  its  surroundings,  seem- 
ingly a  part  of  the  place,  or  whether  it  shall  be  only  a  cheap 
frame-structure,  looking  as  though  it  belonged  in  a  country 
town  and  had  been  carried  to  the  coast  in  a  capricious  gale  of 
wind,  with  decorations,  if  it  has  any,  inappropriate  and  unsuit- 
ed  to  the  sea-shore. 


104 


Summer. 


How  to  Dry  Starfish. 

Collect  the  most  perfect  specimens  of  all  sizes,  wash  them  in 
fresh  water,  and  then  spread  on  a  board  in  a  dry  place  (not  in 
the  sun)  and  leave  them  undisturbed  for  a  few  days,  or  until 
thoroughly  dried. 

How  to   Polish   Shells. 

Wash  your  shells  in  clean,  fresh  water;  procure  a  small 
quantity  of  muriatic  acid  and  have  in  readiness  two-thirds  as 
much  water  as  acid.  Place  the  shells  in  a  basin,  pour  the  water 
upon  them,  then  the  acid  ;  let  them  remain  a  few  minutes,  then 
take  them  out  and  wash  again  in  clear  water.  Rub  each  shell 
with  a  soft  woollen  cloth.  A  fine  enamelled  surface  can  be  given 
by  rubbing  them  with  a  little  oil  and  finely  powdered  pumice- 
stone,  and  then  with  a  chamois-skin. 

To  bleach  fresh-water  shells  to  a  snowy  whiteness,  wash 
them  perfectly  clean  and  then  put  them  in  a  jar  containing  a  so- 
lution of  chloride  of  lime,  place  the  vessel  in  the  sun,  and,  when 
the  shells  are  sufficiently  bleached,  remove  and  wash  them  in 
clear  water.  Polish  them  in  the  manner  before  described. 


CHAPTER   IX. 


A   GIRL'S    FOURTH    OF  JULY. 

ECORATIONS  are  seen  here, 
there,  and  everywhere.  How 
beautifully  the  flags  and 
streamers  look  as  they  wave 
in  the  breeze.  All  the  houses 
and  streets  are  gay  with  bunt- 
ing. We  listen  with  a  thrill 
of  patriotic  excitement  to  the 
national  airs  played  by  bands 
of  music  as  the  different  pa- 
rades pass  our  doors. 

The  spirit  of  independence 
fills  the  very  air  we  breathe.  Whiz  !  zip  !  bang  !  go  the  fire- 
arms. The  noise  is  enchanting  and  the  smell  of  powder  de- 
lightful. 

This  is  our  grand  national  holiday,  the  glorious  Fourth, 
when  all  the  United  States  grows  enthusiastic,  and  in  various 
appropriate  ways  manifests  its  patriotism. 

The  celebration,  commencing  in  the  early  morn  and  last- 
ing until  late  in  the  evening,  gives  ample  time  for  fireworks, 
games,  and  illuminations.  And  the  girls  can  take  active  part 
in,  and  enjoy  these  martial  festivities,  help  to  decorate  the  house 
and  grounds,  and  in  the  evening  do  their  part  toward  the  illu- 
mination. Then  there  are  the  beautiful  daylight  fireworks  to 


The  Fourth  of  July  Party. 


A  Girl's  Fourth  of  July.  107 

be  sent  off,  and  games  to  be  played  ;  all  adding  to  the  enjoy- 
ment and  makirtg  up  their  celebration  of  Independence  Day. 
Although 

Interior  Decoration 

for  the  Fourth  of  July  has  not  been  considered  as  necessary  as 
the  decoration  for  the  outside  of  the  house,  still  it  is  appro- 
priate and  used  to  some  extent,  especially  when  the  house  is 
thrown  open  to  guests  Then,  with  a  little  thought  and  care 
the  home  may  be  decked  and  adorned  in  the  most  attractive 
manner. 

If  you  chance  to  be  the  happy  possessor  of  the  portrait  of 
some  revolutionary  ancestor,  let  this  form  the  centre  of  your 
decorations. 

Bring  forward  any  relics  of  the  colonial  times  and  make 
them  hold  a  prominent  place,  for  all  such  things  are  historical 
and  of  great  interest,  though  of  course  they  are  not  essential. 
Strips  of  bunting,  cheese-cloth,  or  tissue-paper,  in  red  and 
white  and  blue  are  necessary,  and  must  do  their  part  in  adding 
to  the  gayety  of  the  scene.  These  can  be  arranged  in  festoons, 
and  made  into  wreaths,  stars  etc.,  to  be  used  as  ornaments  on 
the  wall. 

There  is  nothing,  perhaps,  more  appropriate  for  decoration 
than  flags,  though  it  requires  some  ingenuity  to  decorate  with 
our  American  flag  on  account  of  the  blue  being  in  one  corner. 
However  we  will  try.  Take  two  flags  without  staffs  and  baste 
them  together  as  in  Fig.  49,  bringing  the  blues  side  by  side; 
pleat  up  the  top  of  each  to  the  centre  and  you  will  have  Fig. 
50  with  the  stripes  at  the  bottom  running  from  end  to  end. 

Now  take  two  more  flags  reversed,  the  stripes  being  at  the 
top  the  stars  at  the  base,  and  pleat  them  in  the  centre,  it  gives 
the  same  idea  in  another  form.  For  this  style  of  adornment  use 
the  flags  which  may  be  had  at  any  dry-goods  store  ;  they  come 


io8 


Summer. 


by  the  bolt,  cost  but  a  few  cents  each,  and  are  much  softer  and 
fold  better  than  the  more  expensive  glazed  ones.  Other  modes 
of  draping  the  stars-and-stripes  will  suggest  themselves  :  place 


the  "  colors"  in  different  positions  until  some  good  design  is 
found,  and  you  will  enjoy  it  all  the  more  for  having  made  the 
combination  yourself. 


fig.  JO 

Tiny  flags  fastened  to  the  chandeliers,  and  pinned  in  groups 
on  the  curtains  give  to  the  room  quite  a  holiday  appearance. 
This  is  for  the  daylight.  In  the  evening  we  will  have 

In-door  Illumination, 

which  can  be  made  very  brilliant  by  simply  using  a  number  of 
lighted  candles. 

Should  you  desire  to  have  it  more  elaborate,  the  words 
Liberty  and  Independence  can  be  printed  on  the  windows  by 
cutting  the  letters  forming  the  words  from  thick  paper  and  gum- 


A  Girl's  Fourth  of  July.  109 

ming  them  to  the  window-panes,  so  when  the  room  is  lighted 
they  will  show  plainly  from  the  outside. 

You  may  also  make  of  tissue-paper  a  Liberty-bell,  Goddess 
of  Liberty,  American  Eagle,  and  flags.  Gum  these  on  the 
edges  and  fasten  them  to  the  windows  ;  place  a  bright  light 
behind  them  and  the  tints  of  the  paper  will  shine  out  in  all 
their  brilliancy.  The  Goddess  of  Liberty's  face,  the  feathers 
on  the  eagle,  and  the  lettering  on  the  bell  must  all  be  drawn 
with  a  paint-brush  and  ink  or  black  paint. 

In  making  any  or  all  of  these,  it  will  be  of  great  assistance  if 
you  secure  a  picture  of  the  object  to  copy  from. 

Having  provided  for  the  inside  of  the  house  it  now  behooves 
us  to  turn  our  attention  to 

Out-of-door  Decoration 

consisting  principally  of  flags  raised  on  poles,  hung  from  win- 
dows, and  disposed  in  numerous  and  various  ways. 

The  many  devices  representative  of  our  country  may  be 
used  with  good  effect.  Thus,  a  large  United  States  shield  can 
be  made  of  colored  paper  or  inexpensive  cloth  tacked  on  a 
piece  of  card-board,  cut  in  the  desired  shape,  and  the  shield  sus- 
pended from  the  window  flat  against  the  house,  as  a  picture  is 
hung  on  the  wall.  Other  emblems  can  be  manufactured  in  the 
same  way. 

Small  trees  or  tall  bushes  covered  all  over  from  top  to  bot- 
tom with  flags  and  streamers  look  beautiful,  and  all  the  gayer, 
when  the  wind  blows,  causing  them  to  wave  and  flutter. 

Fasten  the  flags  and  streamers  on  the  tree  with  string. 

Some  girls  think  that  the 

Illumination  in  the  Open  Air. 

is  best  of  all,  for  then  they  can  give  their  fancy  free  play,  and 
create  all  sorts  of  odd  and  novel  designs. 


110 


Summer. 


The  bright-colored  Chinese   lanterns    are  very  decorative. 
Suppose  we  begin  with  these.     Fasten  securely  here  and  there, 


on  the  lawn,  large  paper  Japanese  umbrellas  in  upright  positions. 
This  is  accomplished  by  binding  the  handles  of  the  umbrellas 


securely  to  poles  which  have  been  sharpened  at  one  end,  and 
planting  the  pointed  end  of  the  poles  firmly  in  the  ground. 
From  every  other  rib   of  the  umbrella  suspend  a  lighted 


A  Girl's  Fourth  of  July.  in 

Chinese  lantern  by  a  wire  long  enough  to  prevent  any  danger 
of  setting  the  little  canopy  on  fire.  The  effect  produced  is 
both  novel  and  pretty. 

A  popular  method  of  arranging  the  lanterns  is  stringing 
them  on  wires,  stretched  from  house  to  house,  or  from  tree  to 
tree,  so  forming,  as  it  were,  a  fringe  of  lights. 

Again,  they  may  be  placed  at  intervals  on  the  ground,  fast- 
ened to  trees  or  hung  on  the  piazza,  some  in  groups  of  twos  or 
threes,  others  singly,  these  being  of  many  odd  shapes  and 
sizes.  Piazzas  are  very  good  sites  for  the  display  of  colored 
umbrellas,  which  may  hang,  inverted,  from  the  ceiling,  with  a 
tiny  lighted  Chinese  lantern  suspended  from  each  rib.  Let  me 
repeat,  be  careful  not  to  have  the  wires  so  short  that  the  light 
is  in  dangerous  proximity  to  the  umbrella. 

Another  pleasing  illumination  is  to  make  a  large  flag  of  col- 
ored-paper with  strong  pieces  of  tape  pasted  along  both  top 
and  bottom,  the  ends  of  the  tape  extending  beyond  the  flag. 
Tie  the  tape  to  two  trees,  poles,  or  pillars  of  the  porch,  and 
place  a  light  back  of  the  flag,  to  bring  out  the  colors  clearly 
and  distinctly. 

Illuminated  tents  are  made  by  placing  poles  in  the  fashion 
of  Fig.  51,  and  using  large  flags,  low-priced  colored  cloth  or 
strong  paper  as  a  covering,  Fig.  52.  The  corners  are  tied 
down  to  pegs  in  the  ground,  and,  when  two  or  three  candles 
are  set  in  the  tent,  the  effect  is  very  pleasing. 

All  young  people  delight  in  the  noise  and  excitement  of 

Fireworks, 

and  here  are  some  pyrotechnics  which  any  girl  can  easily  make. 
They  are  daylight  fireworks,  and  most  of  them  may  be  sent 
off  from  a  balcony  or  window,  and  all  with  no  danger  of  fire 
or  burns. 


112 


Summer. 


One  of  the  simplest  to  try  is  the 

Parachute. 

Cut  a  piece  of  tissue-paper  five  inches  square,  twist  each  cor- 
ner and  tie  with  a  piece  of  thread  eight  inches  long,  Fig.  53  ; 

wrap  a  small  pebble 
in  a  piece  of  paper 
and  tie  the  four 
pieces  of  thread  se- 
curely to  the  peb- 
ble, Fig.  54.  This 
makes  a  light  airy 
little  parachute, 
which,  when  sent 

OUt    from    the    Win- 
Parachute  dow>    will>    with    a 


Fig.  6 3 


Fig.  3 4 


favorable  wind,  sail 

up  and  off  over  the  house-tops.     Make  a  number  of  parachutes 
in  different  colors  and  send  them   off  one  after  another  in  suc- 
cession.    Next  we  will  have  what 
we  call 

Thunderbolts 

fashioned  of  bright-colored  tissue- 
paper.  Cut  the  paper  in  pieces 
four  inches  wide  and  eight  inches 
long.  Then  cut  each  piece  into 
strips  reaching  about  one-third  of 
the  length  of  the  piece  of  paper 
(Fig.  55),  pinch  the  uncut  end  of 

V       5     DDJ>  f  Thunderbolts. 

the    paper   together  and   twist  it 

tightly  so  that  it  will  not  become   undone  (Fig.    56).     Open 

the  window  and  throw  these  out  a  few  at  a  time.     They  will 


A  Girl's  Fourth  of  July.  113 

turn  heavy  end  down  and  dart  off  with  the  fringed  end  flutter- 
ing. Now  and  then  they  will  waver  a  moment  in  one  spot,  and 
then  dart  off  in  another  direction  ;  so  they  go  whirling,  zigzag- 
ging and  bowing  as  if  they  were  alive. 

Something  different  from  these  are  the  comical  little 

Whirls, 

made  by  cutting  circular  pieces  of  writing-  or  common  wrap- 
ping-paper into  simple  spiral  forms  (Fig.  57).  The  centre  of  the 
spirals  are  weighted  by  small 
pieces  of  wood,  or  other  not  too 
heavy  substance  gummed  on  the 
paper. 

When  a  number  of  these  are 
freed  in  mid-air  the  weight  will 
draw  the  spirals  out,  and  present 

a  curious   sight,  as  with  serpen- 

i          11  •  tfy.37  /io.tu 

tine  motion  they  all  come  wng-  whirls. 

gling   and    twisting   toward   the 

ground  (Fig.  58).  In  these  paper  fire-works,  we  know  of  noth- 
ing prettier  than  the 

Winged  Fancies, 

consisting  of  birds  and  butterflies. 

The  birds  may  be  cut  out  of  wrapping-paper,  measuring 
seven  and  a  half  inches  long  and  ten  inches  from  tip  to  tip  of 
the  wings  (Fig  59),  a  burnt  match  stuck  in  and  out  of  the  neck, 
will  give  the  bird  sufficient  weight.  When  tossed  from  a  height 
these  paper  swallows  fly  and  skim  through  the  air  in  the  most 
delightful  birdlike  fashion. 

Both   birds   and  butterflies  are  folded  through   the  centre 
lengthwise,  then  unfolded  and  straightened  out,  this  helps  to 
give  them  form  and  they  fly  better. 
8 


Summer. 


The  patterns  here  given  are  possibly  not  as  graceful  in  shape 
as  could  be  made,  but  the  writer  drew  the  patterns  from  the 

best  fliers  among  an 
experimental  lot  of 
winged  fancies,  hav- 
ing found  them  better 
than  others  that  could 
boast  of  more  beauty. 
Butterflies  are 
made  of  bright  col- 
ored tissue-paper  cut 
from  the  pattern  (Fig 
60),  and  have  short 
pieces  of  broom  - 
straws  as  weights. 
These  also  should  be 

lightly  thrown  from   a  height,  when   they  will   flutter  and   fly 
downward,  sometimes  settling  on  a  tree   or  bush  as  if  seeking 
the    sweets   of  flowers, 
and    appearing   very 
bright    and     pretty    as 
they    float    hither    and 
thither  on  the  air. 

A  ring  of  the  ever- 
twirling 


Fig.  3 9 
The  Bird. 


Pin-wheels 


Fig.  60 
The  Butterfly. 


is   gay   and    attractive, 
just   the   thing   for   the 

lawn  on  the  Fourth  of  July.  To  manufacture  one,  select  a  nice 
firm  barrel-hoop,  and  nail  it  securely  on  one  end  of  a  clothes- 
pole  or  broom-stick  (Fig.  61),  sharpen  the  other  end  of  the  pole 


A  Girl's  Fourth  of  July. 


to  a  point  ;  if  the  hoop  seems  inclined  to  split  when  nailing, 
first  bore  holes  with  a  gimlet  or  burn  them 
with  a  red-hot  nail  or  wire  for  the  nails  to 
pass  through. 

Cover  the  barrel-hoop  several  inches 
deep  with  straw,  lay  the  straw  on  and  tie 
it  down  with  string. 

Prepare  a  number  of  pin-wheels  by 
cutting  squares  of  red  and  white  and  blue 
paper,  fold  them  twice  diagonally  through 
the  centre  and  cut  the  folds  up  within  a 
short  distance  of  the  middle.  Turn  over 
every  other  point  to  meet  the  centre, 
pierce  the  four  points  and  the  centre  with 
a  pin,  then  fasten  the  pin  firmly  to  the 
end  of  a  stick.  The  pin  must  be  left  long 
enough  to  allow  the  paper  to  turn  easily. 

Stick  the  straw  wreath  full  of  pin- 
wheels,  then  plant  the  pole  securely  in  the 
ground  and  you  will  have  a  ring  of  Fourth 
of  July  pin-wheels  which  will  look  pretty 
all  day  long. 

Be    sure   to    place    the   wreath    facing 
the  breeze,  so   the  pin-wheels   may  be   kept  in   constant  mo- 
tion.    Reserve  the 

Bombs 

until  the  last.     They  are  simple  in  construction,  but  quite  start- 
ling when  they  go  off. 

Fasten  together  two  very  stiff  flat  pieces  of  steel  (Fig.  62), 
those  sold  for  the  back  of  dress-skirts  work  well,  and  use 
a  strong  string  many  yards  long  to  tie  them  with.  Bring 
up  the  four  ends  of  the  steels  and  tie  them  with  a  slip  knot 


Pin-wheel. 


Summer. 


(Fig.  63),  in  order  that  it  may  easily  fly  open.      Place  the  cage 
thus  formed  in  the  centre  of  a  square  piece  of  tissue-paper. 

Now  cut  strips  of  different  colored  tissue-paper,  four  inches 
long,  and  twist  each  piece  at  one  end. 

Put  these  in  the  centre  of  the  cage  and   bring  up  the  four 

corners  of  the 
square  of  paper, 
allowing  the 
string  to  come 
out  of  the  top. 
Twist  the  corners 
together  and  close 
up  the  small  open- 
ings by  folding 
over  the  edges  of 
the  paper.  This 


makes  a  bomb  somewhat  re- 
sembling a  common  torpedo 
enlarged  to  many  times  its 
original  size. 

Pass  the  string  through  a 
screw-eye  which  has  been  screwed  in  the  end  of  a  flag-pole  or 
broomstick,  and  place  the  pole  out  of  the  window.  Then  drop 
the  end  of  the  string  down  to  the  lawn  below.  Fasten  one  end 
of  the  pole  in  the  window  by  binding  it  firmly  to  a  strong, 
heavy  chair,  or  secure  it  in  any  other  way  most  convenient  so 
there  will  not  be  the  slightest  danger  of  its  falling. 


A  Girl's  Fourth  of  July.  117 


Everything  being  ready,  descend  to  the  lawn,  and  pull  the 
string  so  the  bomb  will  rise  slowly  up  to  the  pole. 

When  it  is  within  a  short  distance  of  the  screw-eye,  give  the 
twine  a  sudden  sharp  jerk  which  will  cause  the  bomb  to  come 
in  contact  with  the  pole  with  sufficient  force  to  untie  the  slip- 
knot, the  elastic-metal  ribs  will  fly  back  causing  the  bomb  to 
burst  and  fill  the  air  with  bright  shreds,  flying,  gliding,  and 
darting  everywhere  in  the  most  eccentric  manner,  making  the 
air  brilliant  with  floating  colors. 

Let  your  Fourth  of  July 

Lawn  Party 

partake  of  the  patriotic  traditions,  and  as  far  as  possible  help  to 
celebrate  our  Nation's  birthday  in  an  appropriate  manner. 

Paper  fire-works  may  form  part  of  the  entertainment,  it 
being  optional  with  the  hostess  whether  they  come  before  or 
after  the  games,  or  are  interspersed  between  them. 

The  party  opens  with  the  signing  of  the 

Declaration  of  Independence. 

To  each  guest  is  given  a  brown-paper  bag,  and  when  all  have 
assembled  on  the  lawn,  the  hostess  steps  forward  facing  the 
company,  and  asks  all  to  kindly  keep  quiet  and  listen  for  a 
few  moments  while  she  reads  or  repeats  their  Declaration  of 
Independence,  she  then  reads  : 

We  girls  are,  and  of  right  should  be,  free  and  independent 
of  all  boys'  sports,  having  resources  and  amusements  befitting 
the  celebration  of  the  Fourth  of  July,  independent  of  all  those 
belonging  exclusively  to  boys. 

Then  follows  the  signing  of  the  same,  by  each  in  turn  writing 
her  name  beneath  the  declaration.  This  accomplished,  the 
hostess  gives  the  signal  and  each  guest  fills  her  bag  with  air,  by 


n8  Summer. 


holding  it  close  to  her  mouth,  gathering  it  tightly  around,  and 
blowing  into  it,  then  grasping  it  firmly  in  the  right  hand,  being 
careful  not  to  let  any  air  escape. 

At  another  signal,  all  simultaneously  bring  their  hands 
forcibly  and  quickly  together,  striking  the  paper  bags  with  the 
left  hand,  which  bursts  the  bags  and  causes  a  report  almost 
equal  to  that  of  pistols. 

All  the  bags  exploding  at  one  time,  gives  a  salute  worthy  of 
the  name  and  creates  much  merriment. 

The  salute  may  be  varied  by  bursting  the  bags  in  quick  suc- 
cession, so  that  it  will  sound  something  like  a  volley  of  musketry. 

This  introduction  is  followed  by  games  to  be  played  on  the 
lawn. 

For  the  new  game  of 

Toss, 

make  nine  disks  of  card-board,  painted  or  covered  with  paper, 
red  and  white  and  blue,  three  of  each  color. 

Place  in  the  centre  of  the  lawn  a  fancy  waste-basket,  and  let 
each  player  in  turn  stand  at  a  distance  of  six  feet  from  the  bas- 
ket. It  is  better  to  have  the  station  marked  by  a  stone  or  stick, 
at  the  place  designated. 

If  played  by  sides,  two  stations,  one  on  either  side  of  the 
basket  will  be  necessary. 

The  object  of  the  game  is  to  throw  the  disks  into  the  basket, 
and  they  are  valued  according  to  color  ;  red  counts  one,  white 
two,  and  blue  three. 

If  played  by  sides,  each  side  should  play  five  rounds,  ninety 
being  the  highest  possible  tally  for  any  one  player. 

This  is  an  easy  and  pleasant  game,  and  may  be  played  with 
or  without  sides.  The  hostess  keeps  account,  and  at  the  end  of 
the  game  gives  a  knot  of  red,  white,  and  blue  ribbons  as  a  prize 
to  the  one  having  the  highest  score. 


A  Girl's  Fourth  of  July. 


119 


We  hardly  recognize  our  old  friends  in  the  new  and  gigantic 


Fourth  of  July  Jackstraws. 

These  are  all  in  holiday  attire,  and  so  much  larger  than  any  we 
have  seen  that  they  are  even  more  attractive,  and  afford  greater 
amusement  than  those  which  we  have  hitherto  enjoyed. 

It  does  not  take  long  to  make  them.  Cover  a  number  of 
light  slender  sticks,  three  or  four  feet  long,  with  paper  or  cloth, 
some  red,  some  white,  and  others  blue.  The  colors  count  respec- 
tively, red  one,  white  two,  and  blue  three.  Provide  another 
longer  stick  with  a  hook  in  one  end  to  be  used  in  taking  the  jack- 
straws  from  the  pile. 

Stand  the  sticks  up  so  as  to  meet  at  the  top,  and  spread  out 
like  a  tent  at  the  bottom.  Each  player  then  takes  the  hook  in 
turn  and  tries  to  remove  a  jackstraw,  without  shaking  or  throw- 
ing down  any  of  the  others.  The  one  scoring  the  highest,  wins 
the  game  and  is  entitled  to  the  prize. 

Progressive  games  seem  to  be  very 
popular,  and  deservedly  so,  as  they 
possess  an  interest  peculiarly  their  own. 

Here  is  a  new  and  novel  one,  called 


Progressive  Mining. 


It  is  played  with  flower-pots  filled  with 

sand  or  loose  earth,  called  mines.     A 

small  flag  on  a  slender   staff  is  placed 

upright  in  the  centre  of  each  flower-pot 

(Fig.  64).     The  staff  should  be  stuck 

down  in  the  sand  only  just  far  enough 

to  keep  it  steady  in  its  position.     Each  player  in  turn  removes 

a  little  sand  from  the  mine  with  a  stick   called  a  wand,  taking 


120 


Summer. 


great  care  not  to  upset  the   flag  ;  for  the  one  causing  the  flag 

to  fall  loses  the  game.  The  number 
of  mines  needed  will  depend  upon 
the  number  of  persons  playing,  as 
one  flower-pot  is  required  for  every 
two  players. 

Each  one  taking  part  in  the  game, 
is  provided  with  a  wand.  Slender 
bamboo  canes  make  excellent  wands, 
and  may  be  decorated  with  red,  white 
and  blue  ribbons,  tied  on  the  handles. 
Should  the  canes  be  difficult  to  pro- 
cure, then  any  kind  of  light  slender 
stick  will  serve  the  purpose. 

The  hostess  should  prepare  blank 
envelopes,  each  containing  a  ribbon 
badge,  or  score  sheet,  of  different 
colors,  two  of  each  ;  these  are  all 
numbered,  the  figures  being  painted 
or  pasted  on  the  ribbons  to  designate 
the  place  to  be  taken,  thus  two  reds 
are  marked  I,  meaning  that  they  are 
to  occupy  the  first  or  prize  mine.  The 
blues  are  marked  2,  showing  that 
they  take  the  second  mine,  and  so  on. 
The  last  or  lowest  place  is  called  the 
booby  mine.  Each  badge  should 
have  a  small  pocket  attached  (Fig. 
65),  for  holding  stamps  ;  these  are  cut 
in  any  desired  form  from  gold  and 
silver  paper,  which  has  previously 

been  covered  with  mucilage  on  the  under  side,  like  a  common 

postage-stamp. 


r 


A  Girl's  Fourth  of  July.  121 

The  hostess  passes  around  the  envelopes,  each  guest  takes 
one,  and  upon  opening  it  discovers  where  and  with  whom  she 
is  to  play. 

The  preliminaries  being  settled,  and  all  having  taken  their 
places,  the  hostess  starts  the  game  by  ringing  a  little  bell. 

When  one  of  the  players  at  the  prize  mine  upsets  the  flag, 
the  other  calls  out  prize,  and  if  the  flags  have  not  already  fallen 
in  the  other  mines,  the  couples  play  as  quickly  as  possible  until 
all  the  flags  are  down. 

The  winner  at  the  prize  mine  fastens  a  gold  stamp  on  her 
ribbon  badge,  while  the  loser  at  the  booby  mine,  ornaments 
hers  with  silver  seal. 

The  game  is  now  rearranged,  the  winner  at  the  prize  mine 
remains  at  her  station,  and  the  loser  goes  down  to  the  booby 
mine,  while  all  those  winning  at  the  other  mines  move  up,  each 
one  respectively  to  the  next  higher  mine,  for  it  is  only  at  the 
prize  mine  where  the  loser  moves  her  place  and  the  victor  re- 
mains stationary. 

When  these  details  are  settled,  the  flag-staffs  are  again  planted 
in  the  flower-pots  and  the  signal  given  for  a  new  game. 

The  player  with  the  largest  number  of  gold  stamps  on  her 
score-sheet,  receives  the  victor's  prize,  and  the  one  having  the 
most  silver  stamps  is  entitled  to  the  booby  prize. 

The  prizes  are  given  when  the  game  is  ended.  They  should 
consist  of  some  pretty  little  article  made  by  the  hostess  herself, 
and,  if  practicable,  appropriate  to  the  day,  such  as  a  delicate 
satin  sachet  in  the  form  of  a  Liberty  bell,  with  the  lettering 
painted  on  it. 

A  pretty  pin-cushion,  with  a  cover  made  of  a  miniature  silken 
flag,  or  a  dainty  pen-wiper  in  the  shape  of  Liberty's  cap.  Other 
more  expensive  gifts  are  not  in  good  taste. 

The  booby  prize  should  be  something  grotesque  or  comical. 

As  the  mothers  and  sisters  of  1776  took  a  full  share  in  the 


122 


Summer. 


hardships  and  trials  of  the  Revolution,  and  actively  assisted  in 
gaining  our  independence,  it  is  eminently  fit  and  proper  that 
American  girls  should  show  their  appreciation  of  such  bravery 
and  heroism  by  assisting  in  the  annual  celebration  of  our 
famous  Independence  Day. 

Fourth  of  July  seems  heretofore  to  have  been  considered 
altogether  too  exclusively  a  boy's  holiday,  and  it  is  with  a 
hope  of  stimulating  a  renewed  activity,  and  awakening  in  the 
heart  of  every  girl  in  the  United  States  a  sense  of  proprietary 
interest  in  the  day,  that  we  suggest  new  methods  of  celebrat- 
ing our  national  holiday. 


CHAPTER   X. 
PRINTING   FROM    NATURE'S    TYPES. 

tAST  summer  we  made  some  lovely 
impressions  of  flowers,  leaves,  and 
sprays  ;  then  we  tried  landscapes 
and  all  sorts  of  beautiful  designs. 

It  is  really  delightful  and  "fasci- 
nating work.  You  are  led  on  and 
on,  always  with  a  fancy  to  try  some- 
thing else  to  see  how  it  will  come 
out,  and  seldom,  if  ever,  is  it  a  dis- 
appointment or  failure,  a  new  interest  being  felt  with  every 
fresh  print  made.  Moreover,  you  are  sure  of  having  your  pict- 
ure original  and  the  only  one  of  its  kind,  for  as  no  two  flowers 
or  leaves  are  precisely  alike,  so  no  print  can  be  an  exact  copy 
of  another.  And  then  it  takes  only  a  few  moments  for  the  work 
which  could  not  be  accomplished  in  thrice  the  time  should  a 
drawing  be  made  of  the  same  design. 

Let  me  tell  you  how  to  make  an  "  Impression  Album"  a 
book  of  printed  flowers  and  leaves.  You  who  have  house- 
plants  will  find  it  a  delightful  winter  recreation,  a  novel  pleas- 
ure, and  you  can  enjoy  the  pretty  work  even  more  during  your 
summer  vacation,  with  wild  flowers  at  your  command. 

The  "  prints  "  are  taken  from  the  natural  flowers  or  leaves 
themselves.  Girls  who  have  no  knowledge  at  all  of  drawing 
or  of  printing  can  with  little  trouble  make  these  Impression  Al- 


Making  Prints. 


Printing  from  Natures    Types.  125 


Pink  Oxalis. 


bums,  and  students  of  botany  will  find  the  work  supplies  valu- 
able memoranda  of  leaves  and  plants,  as  the  print  preserves  de- 
tails of  the  form,  fibre  and  veining  of 
foliage  and  petal  such  as  no  drawing  or 
photograph  can.  The  printing  can  be 

made  wholly 
accurate,  giv- 
ing all  the 
minutiae  of 
construction. 
The  tools 
required  to 
make  these 
print-pictures 

are  simple,  and  consist  of  a  piece  of 
glass,  a  palette-knife  or  table-knife  and 
some  printers'  ink  which  comes  in 
small  tin  boxes  and  can  be  procured  at 
any  stationery  store,  and  a  pad  made 
of  a  ball  of  cotton 
tied  in  a  piece  of 
soft  silk  or  satin. 

The  printers' 
pad  used  by  the 
writer  for  spread- 
ing the  ink,  was 
manufactured 

of  the  satin  lining  taken  from  a  gentle- 
man's old  hat,  and  answered  the  purpose 
admirably,  being  a  good  size,  measuring 
nearly  four  inches  in  diameter.  The  album 
itself  may  be  a  common  blank-book,  with  every  other  leaf  cut 
out,  in  order  to  make  room  for  the  prints,  which  are  on  pieces 


Smilax. 


Evergreen  MOSS. 


1 26  Summer. 


of  blank  unruled  paper  of  uniform  size,  and  small  enough  to  fit 
in  the  album  and  leave  a  margin  all  around  the  piece  inserted, 
so  that  the  book  when  opened  may  be  neat  and  attractive. 
Having  all  your  tools  at  hand,  select  the  leaves  you  wish  to 
print.  These  must  be  free  from  dust  or  dew  and  perfectly  fresh. 
First,  with  your  knife,  place  a  small  quantity  of  printers'  ink 
on  the  piece  of  glass  and  smooth  it  as  evenly  as  possible  over 
the  surface.  Then  press  the  printers'  pad  down  lightly,  lifting, 

and  again  pressing,  until  the 
ink  is  evenly  distributed  on  the 
pad  ;  next,  select  a  leaf  and 
place  it  face,  or  right  side,  down- 
ward on  a  piece  of  folded  news- 
paper; press  the  inked  pad  down 
on  the  under  side  of  the  leaf, 
which  is  now,  of  course,  lying 
upward,  repeating  the  operation 
until  the  leaf  is  sufficiently  cov- 
ered with  ink.  Carefully  place 
the  leaf,  inked  side  down,  on 
the  centre  of  the  piece  of  paper 
you  have  previously  cut  for  the 
album  ;  over  this  lay  a  piece  of 

Skeleton  Geranium  Leaves.  ... 

common  yellow  wrapping-paper, 

or  any  paper  that  is  not  too  thick  or  stiff,  and  rub  the  ringer 
gently  all  over  the  covered  leaf.  Remove  the  outside  paper 
and  very  carefully  take  up  the  leaf.  You  will  find  an  exact 
impress  of  the  natural  green  leaf  showing  every  one  of  the  deli- 
cate fibres. 

The  picture  is  now  ready  to  be  pasted  in  the  album,  with  a 
thin,  delicate  paste,  touching  only  the  corners.  It  is  a  good 
plan  to  write  under  each  leaf  the  name  of  the  plant  or  tree  from 
which  it  was  taken,  with  the  date,  and  such  facts  as  you  would 


Printing  from  Nature's   Types.  127 


like  to  recall.     Very  valuable  botanical  collections  can  thus  be 
made.      Flowers  are  more  difficult  to  print  than  leaves,  owing 

to  less   "relief"  in  the  films; 
still  they  make  charming  pict- 
ures when  successfully 
treated,     sometimes 


A  Winter  Landscape. 
Printed  from  Nature's  Type. 


having  the  appearance  of  photographs  of  flowers  with  all  the 
lights  and  shadows. 


128 


Slimmer. 


When  printing  flowers,  proceed  in  the  same  manner  as  with 
the  leaves.  Sweet  peas,  roses,  daisies,  wild  carrot,  clover,  and 
verbenas,  all  make  beautiful  impressions  which  look  like  pho- 
tographs. Grasses  of  various  kinds  also  print  well. 

In  making  a  spray,  it  is  best  to  have  a  definite  idea  of  the 
form  you  desire  it  to  take.  If  possible  secure  as  a  copy  a  nat- 
ural spray  of  the  kind  you  wish  to  print.  Then  first  print  all 
the  leaves  in  the  positions  they  are  to  occupy,  and  connect  them 
by  drawing  in  the  branch  with  pen  and  India-ink. 


Maple  Leaves. 
Printed  from  Nature's  Type. 


The  Winter  Landscape  is  printed  from  dried  twigs,  grasses, 
and  little  leafless  plants,  so  arranged  as  to  resemble  trees  and 
shrubbery. 

Only  have  a  little  confidence  and  you  can  make  etchings 
from  nature.  Should  you  not  understand  drawing  or  compo- 
sition, do  not  be  discouraged  ;  obtain  a  picture  to  copy,  and 
then  hunt  up  little  plants  and  soft  twigs  as  nearly  as  possible 
corresponding  in  shape  and  character  to  the  trees  in  the  copy ; 
in  this  way  you  can  produce  very  creditable  landscapes. 


Printing  from  Natures   Types.  129 

Botanical  impressions  maybe  used  for  "  fancy  work  "  by 
being  printed  on  satin,  and  the  decorated  satin  made  up  as 
though  it  were  painted  or  embroidered  ;  patches  for  silk  quilts 
have  been  prettily  decorated  by  this  process.  The  printings 
also  make  beautiful  patterns  for  outline  work,  much  truer  to 
nature  than  those  made  in  any  other  manner  and  afford  infinite 
variety  for  "  borders"  and  u  corners."  Even  satin  dresses  can 
be  beautifully  ornamented  with  impressions  of  leaves  instead  of 
the  "  hand  painting  "  so  long  in  use.  You  can,  of  course,  see 
that  should  several  colors  of  printers'  ink  be  used,  beautiful 
combinations  and  pleasing  variety  would  be  obtained,  and  that 
probably  some  unique  and  novel  decorations  would  be  se- 
cured. 

Letter-paper  ornamented  with  a  delicate  design  printed  from 
nature's  types  is  very  dainty  and  pretty,  and  in  many  other 
forms  can  these  simple  and  beautiful  decorations  be  used. 

Then  bring  leaves  and  blossoms  from  the  woods  or  door- 
yard,  and  half  an  hour  may  be  delightfully  spent  in  printing 
"impressions"  which  will  teach  a  lesson  in  botany,  while  the 
great  variety  of  leaf  forms,  difference  in  texture,  fibre,  veining 
and  finish  cannot  fail  to  attract  your  attention  and  call  forth 
your  admiration. 


Corn  Roast, 


CHAPTER  XL 


PICNICS, 

BURGOOS    AND 
CORN-ROASTS. 


'RACES  of  foreign  ances- 
tors are  apparent  occa- 
sionally in  most  of  us, 
true  Americans  though 
we  be.  It  is  perhaps  a 
spice  of  gypsy  blood  in 
our  veins  that  sets  our 
pulses  throbbing  with 
*  pleasant  excitement 

when,  seated  in  an  old  hay- wagon,  we  go  bumping  and  thump- 
ing down  the  road  prepared  for  a  delightful  holiday. 

With  camp-kettle  swinging  beneath,  and  coffee-pot  stowed 
safely  away  within  the  wagon,  do  we  not  feel  able  to  provide  as 
savory  dishes  for  our  picnic  dinner  as  any  concocted  by  the  gyp- 
sies themselves  ?  Surely  no  coffee  is  ever  so  delicious  as  that 
cooked  over  the  camp-fire,  albeit  it  tastes  somewhat  smoky 
when  prepared  by  hands  inexperienced  in  the  art  of  out-door 
cooking  ;  but  if  the  fish  we  broil  is  a  little  burned,  and  the 
baked  potatoes  rather  hard  in  the  middle,  who  cares  ?  Hearty, 
healthy  appetites,  which  the  early  morning  drive  through  the 
fresh,  exhilarating  air  has  developed,  laugh  at  such  trifles  and 


132  Summer. 


dinner  is  voted  a  success  in  spite  of  sundry  mistakes  and  mishaps 
in  its  preparation. 

There  are  picnics  and  picnics.  When  one  drives  out  in  a 
fine  carriage  to  meet  a  fine  company,  and  partake  of  a  fine  lunch 
prepared  by  fine  servants,  is  one  kind. 

When  one  goes  with  a  large  party,  on  a  boat,  and  takes  a 
lunch  of  sandwiches,  cake,  pickles,  hard-boiled  eggs,  etc., 
which  is  spread  on  the  grass  at  the  landing  and  eaten  as  quickly 
as  possible,  is  another  kind  ;  but  the  picnic  most  enjoyed  by 
young  people  who  are  not  afraid  of  a  little  work,  which  is  only 
play  to  them,  is  the  one  where  the  raw  materials  for  the  dinner 
are  taken  and  the  cooking,  or  most  of  it,  is  done,  gypsy  fash- 
ion, by  the  picnickers  themselves. 

A  pleasant  innovation  in  the  ordinary  routine  of  a  picnic  is 

A  Burgoo. 

Thirty  or  forty  years  ago  the  men  of  Kentucky,  in  celebra- 
tion of  a  holiday,  would  get  up  what  they  called  a  burgoo.  In 
character  it  was  very  much  like  the  clam-bake  of  to-day,  but 
instead  of  chowder,  or  baked  clams,  the  company  prepared  and 
partook  of  a  soup  or  stew  made  of  almost  everything  edible. 
Early  in  the  morning  the  party  would  meet  at  the  appointed 
place  and  decide  what  each  should  contribute  toward  the  mak- 
ing of  this  most  delectable  stew. 

Those  who  were  fond  of  hunting  would  go  forth  in  search  of 
birds,  squirrels,  rabbits,  and  game  of  all  kinds,  with  which  the 
woods  were  filled.  Some  caught  fish,  and  others  provided  fowl, 
pork,  vegetables,  and  condiments. 

As  the  ingredients  were  brought  in,  those  who  had  charge  of 
the  cooking  prepared  and  dropped  them  into  an  immense  pot 
which,  half  full  of  water,  was  suspended  over  a  roaring  fire. 

When    everything    of  which    the  stew  was  composed  was 


Picnics,  Burgoos,  and  Corn-roasts.       133 


cooked  to  shreds,  the  burgoo  was  pronounced  done,  and  was 
served  in  tin  cups,  and  eaten  with  shell  spoons,  made  by  split- 
ting a  stick  and  wedging  a  mussel-shell  in  the  opening. 

That  this  was  a  most  appetizing  feast  I  know  from  an  old 
gentleman  who  has  frequently  attended  the  burgoos  and  par- 
taken of  the  stew.  Of  course  at  a  picnic  composed  of  girls  and 
boys,  it  would  not  do  to  depend  upon  the  game  which  might 
be  shot  and  the  fish  which  might  be  caught,  for  the  dinner,  but 
the  burgoo  should  be  adapted  to  the  ways  and  means  of  the 
party,  and  each  member  should  provide  something  for  the  stew. 
The  following  recipe  will  make  enough  for  fifteen  or  twenty 
persons. 

Burgoo  Stew. 

Two  pounds  of  salt  pork,  the  same  of  lean  beef;  two  good- 
sized  chickens,  or  fowls  of  any  kind  ;  two  quarts  of  oysters,  the 
same  of  clams  ;  twelve  pota- 
toes, four  turnips,  one  onion, 
two  quarts  of  tomatoes,  and 
any  other  vegetables  which 
may  be  obtainable.  Make  a 
bouquet  of  parsley,  celery, 
and  a  very  little  bay-leaf, 
thyme  and  hyssop,  tied  to- 
gether with  thread. 

Put  the  beef,  fowl,  pork, 
oysters,  clams  and  a  handful 
of  salt  in  a  large  iron  kettle, 
three-quarters  full  of  water  ; 

skim   it  before   it  begins   to ^ 

boil  hard,  and  add  the  other  -  F&66 

ingredients  ;  keep  the  kettle  covered  and  boil  until  the  bones 

fall  from  the  meat.     Serve  hot  with  crackers.     Wild  game  and 


134  Summer. 


fish  may  also  be  added  to  the  recipe.  When  a  burgoo  is 
decided  upon,  it  is  best  to  prepare  a  light  lunch  to  be  eaten 
about  eleven  o'clock,  and  have  the  heartier  meal  at  four  or 
five  in  the  afternoon,  as  it  requires  some  time  for  the  stew  to 
cook. 

Our  illustration  shows  four  ways  of  suspending  the  kettle 
over  the  fire.  While  the  girls  are  preparing  the  ingredients  for 
the  stew,  the  boys  will  build  a  fire  in  some  such  fashion  as  is 
shown  upon  page  135,  and  put  the  kettle  on.  The  best  way  to 
boil  coffee  is  to  make  or  build  a  kind  of  little  stove  of  stones 
and  mud,  and  set  the  coffee-pot  on  top,  as  shown  in  Fig.  66  ; 
this  will  prevent  the  smoky  taste  it  is  apt  to  have  when  placed 
directly  on  the  fire. 

A  Corn-roast. 

During  the  season  when  green  corn  is  plentiful,  there  is  no 
better  way  of  having  a  real  jolly  time  than  by  getting  up  a  corn- 
roast.  It  is  not  as  elaborate  an  affair  as  the  burgoo.  Some 
green  corn,  a  long  pole  sharpened  at  one  end,  for  each  mem- 
ber of  the  party  and  a  large  fire  built  in  some  open  space  where 
there  will  be  no  danger  of  causing  conflagration  makes  us  ready 
for  the  corn-roast. 

Several  summers  ago  a  gay  party  of  friends  from  New 
York  and  vicinity  took  possession  of  and  occupied  for  a  few 
months  a  little  cottage  at  a  place  on  the  coast  of  Maine  called 
Ocean  Point. 

Toward  the  end  of  August,  when  all  places  of  interest  had 
been  explored,  when  the  stock  of  shells,  star-fish,  and  such  like 
treasures  had  grown  beyond  the  accommodation  of  an  ordinary 
trunk,  and  the  minds  of  the  sojourners  were  beginning  to  be 
filled  with  thoughts  of  a  speedy  return  home,  green  corn,  for 
the  first  time  that  summer,  made  its  appearance.  This  was 
hailed  with  delight,  and  a  farewell  lark,  in  the  form  of  a  corn- 


136 


Summer. 


roast,  was  promptly  proposed  and  almost  as  promptly  carried 
into  execution. 

The  place  selected  on  which  to  build  the  fire  was  a  large 
rock  jutting  out  into  a  little  cove  called  "  Grimes  Cove.'' 
Here  the  party  met  about  three  o'clock  in  the  afternoon,  each 
member  bringing  only  such  dishes  as  were  considered  neces- 
sary for  his  or  her  own  use.  It  is  needless  to  say  that  the 
supply  was  not  very  plentiful,  many  limiting  themselves  to  a 
cup  and  spoon  ;  still  as  the  supper  was  to  consist  merely  of 
roasted  corn,  bread  and  coffee,  these 
answered  every  purpose. 

Not  only  was  the  corn  roasted  on 
the  ends  of  the  long  poles,  but  bread 
was  toasted,  and  in  true  American  fash- 
ion it  was  eaten  piping  hot.  One  of 
the  gentlemen,  much  to  the  amusement 

of  the  rest  of 
the  party,  pro- 
duced a  piece 
of  break  fast 
bacon,  which 
he  fastened  on 

to  the  end  of  his  pole  and  toasted  over  the  glowing  embers,  de- 
claring that  it  was  better  cooked  in  that  way  than  in  any  other. 
Yes,  corn-roasts  are  great  fun,  and  they  can  be  held  almost 
any  place  where  a  large  fire  can  be  safely  built.  It  is  best  to 
allow  the  fire  to  burn  down  until  it  is  a  glowing  pile  of  coals  ; 
then  sticking  the  sharp  end  of  a  pole  into  an  ear  of  corn  (Fig.  67), 
and  standing  as  far  from  the  fire  as  the  length  of  the  pole  will 
permit,  it  can  be  held  close  to  the  hot  embers  until  thoroughly 
cooked  ;  then  with  butter  and  salt  this  roasted  corn  is  excel- 
lent eating. 

Enough  corn  should  be  provided  to  allow  several  ears  to 


Picnics,  Bur  goo  s,  and  Corn  Roasts.       137 

each  member  of  the  party,  as  mishaps  are  liable  to  occur,  and 
the  tempting  ear  of  corn  may  be  devoured  by  the  flames,  in- 
stead of  the  person  for  whom  it  was  intended. 

The  poles,  about  six  feet  in  length,  should  be  as  light  as 
possible,  for  if  too  heavy  they  will  tire  the  hands  and  arms  of 
those  holding  them. 


White  Glover  Design. 


CHAPTER   XII. 


BOTANY   AS    APPLIED    TO    ART. 


HERE  is  a  book  of  most  lovely  de- 
signs open  to  everyone  whose  eyes 
are  open  to  see. 

Grasses,  leaves,  blossoms,  and 
even  buds  and  seed-vessels  supply 
material  for  beautiful  patterns. 

We  need  not  look  far  for  sug- 
gestions. Truly  "  that  is  best 
which  lieth  nearest  ;  shape  from 
that  thy  work  of  art." 

At  your  very  doorway  the  won- 
ders of  botany  may  be  studied. 
Carefully  inspect  the  tree  blossoms  in  the  early  spring  ;  the 
maple,  willow,  birch,  any  in  fact  which  happen  to  be  conve- 
nient, and  you  will  find  suggestions  of  rare  designs. 

Clover,  plantain,  pepper-grass,  dandelions,  vines  and  twigs, 
offer  ideas  which  can  be  adapted  to  ornamental  art. 

A  love  of*  nature  will  quicken  and  stimulate  the  faculties  ; 
take  the  flowers  and  plants  for  instructors,  and  they  will  teach 
and  guide  you. 

Though  there  cannot  be  found  an  exact  duplicate  of  any 
blossom  or  leaf,  still  these  may  be  conventionalized  by  arrang- 
ing them  in  all  sorts  of  symmetrical  designs. 

There  is  no  mystery  about  the  matter,  for  all  the  designs 


140 


Summer. 


are  conceived  upon  the  most  simple  of  geometric  laws.  We 
are  now  following  in  the  steps  of  the  old  masters,  and  an  un- 
limited field  of  new  combinations  opens  before  us. 

When  making  designs  for  this  chapter,  the  writer  did  not 
select  the  objects  she  thought  would  be  most  decorative,  but 
anything  which  chanced  to  fall  in  the  way  ;  and  what  she  has 
done  you  can  do,  provided,  of  course,  that  you  have  ordinary 
skill  with  the  pencil. 

The  Peony  Leaf. 

Suppose  you  do  not  know  how  to  draw  at  all  !  Even  then 
you  can  design.  Take  the  first  thing  you  see,  which  in  this 


Fig.  68. 


Fig.  69. 


case  happens  to  be  a  peony  leaf  (Fig.  68).     That  is,  assuming 
that  you  are  seated  by  the  side  of  the  writer. 

Now  watch  !  We  will  pull  it  apart  thus  (Fig.  69).  Next 
with  a  pair  of  scissors,  a  knife,  or  fingers  snip  off  the  stems, 
and  group  the  leaves  in  any  way  we  chose.  We  will  try  this 
combination  (Fig.  70).  If  you  do  not  understand  drawing, 
we  must  fasten  the  leaves  down  upon  a  piece  of  paper  as  they 
are  arranged,  and  trace  around  them,  following  their  edges 


Botany  as  Applied  to  Art. 


141 


with  a  pencil  until  the  outline  is  complete  (Fig.  70).  By  sim- 
ply repeating  this  figure  at  regular  intervals  we  have  a  very 
pretty  border  design  and 
one  that  is  truly  original, 
for  the  writer  had  no  more 
idea  than  you,  what  was 
to  be  the  result  of  this  ex- 
periment.  In  order  to 
make  the  pattern  exact, 
draw  lines  as  in  Fig.  71, 
for  a  guide  ;  then  draw 
the  figure  according  to  the 
foundation  lines  (Fig.  72). 
When  finished,  erase  the 
lines  and  the  design  stands 
a  conventionalized  peony 
leaf,  Fig.  73.  By  making 
a  tracing  of  the  first  pat-  Fi&- 70- 

tern,  you  can  repeat  it  any 

number  of  times.      It  requires  no  great  or  peculiar  genius  to 
design  well,  and  it  is  a  mistaken,  old-fashioned  idea  to  suppose 


ffy.7/ 


Fig. 72 


Fio.73 


because  you  never  have  done  any  original  work  in  art  that  you 
never  can.     Do  not  slavishly  follow  other  people,  but  believe 


142 


Summer. 


of  the  basket.  What  are 
they  ?  turnips?  Well 
that  requires  a  little  skill 
as  a  draughtsman,  but 
we  will  sketch  this  one 
and  you  can  copy  it  (Fig. 
74).  Now  repeat  it  (Fig. 
75),  or  place  the  bunches 


that  there  is  implanted  in  you 
the  same  elements  that  belong 
to  those  whose  designs  you  ad- 
mire, then  commence  and  de- 
sign for  yourself.  That  you 
may  have  a  start  in  your  new 
art,  we  will  try  something  else, 
a  vegetable  this  time,  for  here 
comes  the  green-grocery  man 
with  a  basket  full  of  as  quaint 
decorations  as  are  ever  painted 
with  bamboo-handled 
brush  by  the  Japanese. 

A  Bunch  of  Turnips. 

Take  the  first  bunch 
of  vegetables  on   the  top 


Fig.  75. 


in  a  row  and  you  will 
have  another  border 
design.  After  a  few 
experiments  you  will 
see  that  anything  will 
make  a  decoration 
even  the  humble 
kitchen  vegetables. 


Botany  as  Applied  to  Art. 


Decorative  Lines. 

Figs.  76  and  77  are  simply  graceful  curves,  such  as  anyone 
can  make  with  a  pen  or  pencil,  and  may  be  used  in  many 


Pig.  78.  Fig.  76.  Fig.  77. 

ways  :    cross  them  and  they  form  Fig.  78,  use  this  as  half  the 
design,  duplicating  it  for  the  other  half  and  it  gives  Fig.  79. 


We  now  have  graceful  and  beautiful  foundation  lines  on  which 
any  vine  or  flower  may  be  placed  as  ornamentation.     We  will 


select  the  rose,  allowing  the  lines  to  form  the  stems  and  using 
as   ornament  the  bud,   flower  and  seed-vessels,  remembering 


144 


Summer. 


that  one  side  must  be  an  exact  duplicate  of  the  other  (see  Fig. 
80). 

With  these  curves  invent  new  designs  by  placing  them  to- 
gether in  different  ways,  and  choose  for  decoration  anything 
which  may  strike  your  fancy. 


Plant  Cross-section  Designs. 

Have  you  ever  noticed  how  curiously  some  leaves  are  curled 
before  opening  ?  Watch  them  as  they  commence  to  expand 
and  grow,  and  you  will  be  delighted  with  the  great  variety  and 
unique  designs  formed  by  the  folding  and  rolling  of  these  leaf- 
buds. 

Cut  a  bud  square  across  in  the  centre  with  a  sharp  knife, 
and  this  will  show  the  nicety  of  arrangment  of  the  young 


@A§) 

Fig.  8 I 


,  ,, 

flQ.81 


leaves.  The  leaf-bud  of  the  sage  (Fig.  81),  rosemary  (Fig. 
82),  apricot  (Fig.  83),  and  still  another  variety  of  pattern  (Fig. 
84),  are  all  singular  natural  designs. 

The  petals  of  flower-buds  are-  also   folded  in  many  ways, 
affording  odd  designs  ;  if  cut  in  like  manner  as  the  leaves,  the 


Botany  as  Applied  to  Art. 


145 


cross-sections  will  be  as  beautiful.     Fig.  85,  the  lilac  bud,  and 
the  oleander  (Fig.  86),  give  some   idea  of  these   odd   designs. 


Submit  all  kinds  of  buds  to  the  test  by  cutting  them  in  halves, 
and  carefully  examining  the  two  parts,  observe  how  nicely  and 


fy.  87 


orderly  the   leaves   are  folded   together.     In   this  way  you  will 
find  many  natural  ornamental  patterns. 

Nor  must  we  neglect  the  seed-vessels  ;  when  these  in  their 


10 


146  Summer. 


turn  are  cut  open,  they  present  excellent  designs.  Fig.  87  is  a 
cross-section  of  the  seed-vessel  of  the  harebell.  Other  seeds 
will  furnish  queer  forms  and  figures  to  be  obtained  in  no  other 
way. 

Flower  Sprays. 

The  common  white  clover  with  its  trefoil  leaf  is  very  pretty, 
and  if  a  few  sprays  are  placed  together  in  a  graceful  manner  it 

is  surprising  how  readily  they 
lend  themselves  to  decoration. 
Experiment  with  these,  gather 
a  few  blossoms  and  leaves, 
group  them  on  the  centre  of  a 
piece  of  paper,  and  make  an 
outline  of  the  group  ;  then 
trace  it  off  in  order  to  repeat 
the  copy  at  equal  intervals 
from  the  central  figure  (see  il- 
lustration,  page  138);  this 
makes  a  very  simple  and  yet 
beautiful  design  for  embroidery,  needle-work,  or  wall-paper 
pattern.  In  the  same  manner  try  grasses  and  different  kinds 
of  flowers. 

Conventional  designs  can  also  be  formed  by  simply  inclosing 
a  natural  spray  in  a  geometrical  figure.  Fig.  88  is  a  circle,  but 
a  square,  triangle,  diamond,  oval,  or  any  geometrical  figure 
may  take  the  place  of  the  circle. 

Changing  the  Color 

of  a  natural  object  gives  still  another  style  of  ornamental  art. 
A  spray  of  flowers  and  leaves  in  one  color  on  a  background  of 
different  tint  is  an  example.  The  spray  may  be  brown  on  a 


Botany  as  Applied  to  Art. 


147 


Fig.89 


yellow  background,  or  a  dull  blue  on  white  background,  either 
way  it  will  be  conventionalized.  So  you  see  that  by  merely 
making  natural  objects  all  in  one  tint,  you  can  have  a  great  va- 
riety of  designs  suitable  for  china,  embroid- 
ery, wall  paper,  and  many  other  decora- 
tions. It  is  instructive  to  examine  the  pan- 
els, screens,  or  painted  china  of  the  Japanese. 
There  is  a  freedom  and  crispness  about  their 
ornamental  art,  which  is  very  attractive. 

The  method  the  Japanese 
frequently  employ  is  to  dimin- 
ish the  size  of  the  fruit  or  flowers  while  increasing 
the  size  of  the  leaves,  and  vice-versa  ;  in  this  way 
they  invent  designs  without  losing  the  character 
of  the  object  they  copy,  and  it  is  really  a  very 
simple,  yet  effective  method. 

Suppose,  you  try  and  see  what  you  can  make 
with  it.  The  next  time  you  have  an  opportunity, 
notice  how  the  Oriental  artists  carry  out  this  idea 
in  their  decorations,  and  it  will 
help  you  in  making  your  designs. 


Fig.Ot 


Burs. 

The  tenacious  little  burs  found 
clinging    to    your    dress    after    a 
Fig.  90.  country  walk,   when  grouped    to- 

gether are  not  without  beauty. 
Fig.  89  is  formed  of  four  of  these  burs  placed  at  right  angles 
making  an  ornament,  and  when  the  ornament  is  repeated  at 
regular  intervals  as  in  Fig.  90,  it  forms  a  border  design. 

Seeds  with  downy  or  feathery  tails  are  well  adapted  for  dec- 
orations ;    three  grouped  together  (Fig.  91),  is  a  design  of  itself, 


148 


Summer. 


which  may  also  be  re-duplicated   (Fig.  92).     The  horse-chest- 
nut or  buckeye  is  decorative,  and  makes  an  odd  design  (Fig. 

93).  Also  the  seed-vessel  of  the 
Velvet-leaf  or  Abutilon  avicennae 
(Figs.  94  and  95). 

The  Water-Lily. 

In  the  illustration  of  the  water- 
lily,  the  writer  has  conventionalized 
it  by  curving  the  stem  around  the 
flower  and  duplicating  the  same,  al- 
ways making  the  stem  meet  the  next 
lily,  then  inclosing  the  flowers  in  two  straight  lines,  so  forming 


Fig.  92. 


Fig.  93. 

a  water-lily  border.     Now,  girls,  you  can  realize  how  very  sim- 
ple it  is  to  apply  botany  to  art,  and  make  for 
yourselves  new  and  original  designs. 

The  knowledge  of  plants  is  not  only  in- 
teresting but  useful  in  connection  with  art, 
in  selecting  and  determining  appropriate  de- 
signs for  wood-carving,  hammered   brass,  or  Fig.  94. 
any  kind  of  ornamentation  or  decoration.     The  cross-section  of 


Fig.  95. 

some  trees  will  furnish  very  good  designs  and  the  differently 


Botany  as  Applied  to  Art. 


149 


formed  roots  of  plants  and  flowers  will  aid  you   in  ornamen- 
tal art. 

So  we  find  that  Nature  offers  us  exquisite  designs,  in  many 


Fig.  96. 

shapes  and  forms,  and  we  have  only  to  stretch  out  our  hand 
and  take  what  we  want. 

"Beauty  doth  truly  inhabit  everywhere,"  for  "  it  is  mind 
alone  that  is  beautiful,  and  in  perceiving  beauty,  we  only  con- 
template the  shadow  of  our  own  affections." 


CHAPTER   XIII. 

DOOR-STEP     PARTY     AND     QUIET     GAMES     FOR 
HOT   WEATHER. 


'N  the  State  of  Kentucky,  in  one  of  whose 
towns    the   writer's    early    childhood    was 
spent,  the  summers  are  long,  and  frequent- 
ly very  hot  spells  occur  when  even  in 
the  early  morning  hours  there  is  no 
refreshing  coolness    in    the   air.     As 
the  sun  rises  higher  and  high- 
er in  the   heavens,   its    rays 
grow  fiercer  and  fiercer,  until 
by  afternoon,  the  heat  is 
so  intense  that  few  per- 
sons care  to  venture  out 
of    doors,    unless    com- 
pelled by  business  or  necessity  to  do  so. 
At  dusk,  however,  after  the  heat  of 

the  day  is  spent,  and  the  air,  although  not  cool,  is  a  degree  or 
two  less  hot,  the  population  of  the  town  makes  itself  visible. 
Ladies  and  children  clad  in  the  thinnest  of  white  and  light 
colored  muslin  gowns,  emerge  from  the  houses  to  sit  upon  pi- 
azza and  door-step,  and  there  welcome  the  husband,  father,  and 
brothers  of  the  family  upon  their  return  from  business  ;  that 
business  which  is  never  neglected  no  matter  what  the  thermom- 
eter may  register.  After  tea  the  door-steps  are  once  more 


152  Summer. 


taken  possession  of,  and  to  enter  the  house  again  until  ready 
to  retire  for  the  night,  is  not  to  be  thought  of.  Friends  and 
neighbors  making  social  calls  are  received  and  entertained  in- 
formally upon  the  door-steps,  and  sometimes  when  the  party 
becomes  too  large  for  the  steps  to  accommodate,  chairs  are 
placed  upon  the  pavement  immediately  in  front  of  the  door, 
and  no  one  feels,  while  occupying  one  of  these  seats,  that  the 
position  is  at  all  public  or  conspicuous. 

Hatless  and  bonnetless  as  all  of  the  ladies  and  children  are, 
the  warmth  of  the  evenings  making  all  head  coverings  and  extra 
wraps  unnecessary  and  uncomfortable,  the  streets  present  a 
gay  and  fete-like  appearance  seldom  seen  in  our  eastern  towns. 

At  least  this  is  as  it  was  when,  as  one  of  the  band  of  merry 
children,  I  played  "  Oats-peas-beans  "  and  "  Come  Philanders," 
upon  the  sidewalk,  and  I  do  not  think  these  customs  have 
changed  much  since  then. 

Later,  when  I  and  my  young  friends  had  outgrown  the 
"  ring-around-arosy  "  games,  we  used  to  gather  upon  the  door- 
step, and  there  chatter  away  about  the  day's  doings,  or  what- 
ever interested  us  at  the  time.  When  tired  of  talking,  we  would 
amuse  ourselves  by  playing  quiet  games  or  telling  stories. 
Sometimes  the  thoughtful  mother  of  our  young  hostess  would 
add  to  our  enjoyment  by  serving  some  light  refreshment,  such 
as  ice-cream  or  fruit.  The  greatest  treat,  and  the  one  most  ap- 
preciated, was  when  we  were  invited  to  partake  of  a  great  crisp 
frozen  water-melon,  whose  blood-red  core,  sweet  as  sugar  and 
cold  as  ice,  quickly  melted  away  between  the  rosy  lips  of  the 
little  guests.  We  were  not  always  thus  favored,  however  ;  the 
refreshments  were  ever  a  pleasant  surprise,  but  the  pleasure  of 
our  evening  was  not  marred  by  their  absence. 

The  remembrance  of  what  very  pleasant  times  we  used  to 
have  at  these  impromptu  little  parties,  urges  me  to  devote  some 
pages  of  this  book  to  the  description  of  a  door-step  party,  that 


Quiet  Games  for  Hot  IVeather.          153 


by  acting  upon  the  suggestion,  others  may  enjoy  them  even  as 
did  that  group  of  little  Kentucky  girls. 

Now  is  just  the  time  for  a  door-step  party  ;  now  when  the 
beauty  of  the  evening  lures  us  from  the  lighted  parlor  to  the 
shadowy  piazza  whose  coolness  is  so  attractive  after  the  long, 
hot  summer  day.  Here  soft  breezes  fan  our  cheeks,  and  here, 
perhaps,  the  moonlight  filtering  through  vine  and  trellis,  is  car- 
peting the  floor  with  lacy  shadows,  and  with  its  soft  mysterious 
light  is  casting  a  glamour  over  all  familiar  things. 

It  is  a  modest  little  fete,  this  door-step  party,  a  simple  way 
of  entertaining  one's  friends  of  a  summer  evening  when  the  heat 
will  not  permit  of  the  exertion  of  active  games.  The  delight- 
ful out-door  surroundings  give  it  a  novel  charm  and  make  it 
entirely  different  from  the  frolics  usually  indulged  in  during 
the  winter  season. 

Because  the  entertainment  is  not  noisy  it  need  not  be  the  less 
enjoyable,  and  a  party  of  bright,  merry  girls  will  derive  plenty 
of  amusement  and  fun  from  the  quiet  games  of  a  door-step 
party.  The  following  will  give  an  idea  of  what  games  are  suit- 
able for  an  occasion  of  this  kind. 

Five  Minutes'   Conversation 

is  not  exactly  a  game,  although  there  are  rules  which  must  be 
obeyed  in  order  to  make  it  interesting. 

A  programme  with  small  pencil  attached,  like  the  one  shown 
in  Fig.  97,  should  be  given  to  each  guest  upon  her  arrival. 
The  engagements  for  five  minutes'  conversation  are  made  by 
putting  your  name  down  on  your  friend's  card  opposite  the 
time  chosen  for  your  conversation  with  her, 

Five  minutes  only  are  allowed  for  one  conversation. 

Two  or  more  consecutive  engagements  with  one  person  are 
not  allowable.  When  engagements  are  made  and  programmes 


154 


Summer. 


filled,  the   hostess,  or  anyone  willing  to   be   time-keeper,  must 
ring  a  bell  giving  notice  that  the  conversation  is  to  begin. 

At  the  end  of  five  minutes  the  bell  is  to  be  rung  again,  when 
all  talking  must  instantly  cease,  the  exchange  of  positions  be 
quickly  made,  and  a  new  conversation  be  commenced. 


The  time-keeper  should  be  strictly  attentive  to  her  duties,  for 
the  bell  must  be  rung  regularly  at  the  end  of  every  five  minutes. 

The  hour  allotted  to  this  new  mode  of  conversation  will  pass 
very  quickly,  and  cannot  become  in  the  least  tiresome,  as  the 
time  spent  in  talking  to  any  one  person  is  so  very  short. 


Quiet  Games  for  Hot  Weather.          155 

Blind-man's  Singing-school. 

One  of  the  party  must  be  blindfolded  to  take  the  part  of 
teacher.  The  class  composed  of  the  rest  of  the  players  should 
sit  in  a  line  facing  her. 

The  teacher  informs  her  scholars  that  they  will  begin  the 
lesson  by  singing  the  scales.  Then  the  head  girl,  or  the  one  at 
the  top  of  the  line,  sings  ah  !  and  the  next,  ah  !  a  little  higher  or 
lower,  and  so  it  goes  down  the  line  ;  each  one  in  turn  uttering 
ah !  in  any  key  or  note  she  please  ;  in  a  high  shrill  voice,  or  the 
deepest  tone  a  girlish  throat  is  capable  of.  The  teacher  should 
listen  attentively,  and  when  she  thinks  she  recognizes  a  voice 
she  must  command  the  class  to  stop  while  she  makes  some  criti- 
cism on  the  manner  in  which  the  note  is  sung,  at  the  same  time 
calling  the  singer  by  name. 

When  one  of  the  players  is  named  correctly,  she  must  be 
blindfolded  and  become  teacher,  while  the  former  teacher  takes 
her  place  in  the  class. 

A  general  exchange  of  seats  is  made  before  the  singing  les- 
son recommences,  that  the  voices  may  not  be  guessed  by  the 
direction  from  which  they  come.  To  give  variety  to  this  game 
the  second  teacher  may  direct  the  class  to  sing  a  song,  selecting 
some  well-known  nursery  rhyme  ;  then,  beginning  at  the  top 
of  the  line  as  before,  each  player  must  sing  the  word  which 
comes  to  her  to  supply.  It  is  the  privilege  of  each  teacher  to 
direct  the  class  to  sing  whatever  she  may  choose,  either  song 
or  exercise. 

A  Game  of  Noted  Men, 

is  played  in  this  way  :  The  hostess  begins  the  game  by  saying, 
I  know  a  celebrated  poet  ;  the  first  part  of  his  name  is  very 
black,  and  the  last  is  an  elevation.  Whoever  gives  the  right 
name,  which  is  Coleridge  (coal,  ridge),  in  her  turn  describes  the 


156  Summer. 


name  of  some  noted  person.  She  may  choose  Shakespeare 
and  say,  I  give  the  name  of  a  noted  author  and  poet  ;  the  first 
part  is  something  people  are  apt  to  do  when  they  are  cold,  the 
last  is  a  weapon  of  warfare. 

There  are  quite  a  number  of  names  which  will  do  nicely  for 
this  game  ;  a  few  of  them  are — 

Wordsworth — words,  worth.  Shelley — shell,  lea. 

Cornwall — corn,  wall.  Washington — washing,  ton. 

Howitt — how,  it.  Fillmore — fill,  more. 

Milman — mill,  man.  Longfellow — long,  fellow. 

When  giving  a  name  to  be  guessed,  the  profession  of  the 
man,  whether  poet,  author,  statesman,  or  soldier,  must  be  given, 
but  nothing  else  should  be  told  about  him. 

What  will  You  Take  to  the  Picnic  ? 

can  be  played  very  nicely  while  the  party  are  enjoying  some 
light  refreshments. 

The  hostess  alone  should  be  in  the  secret,  and  these  direc- 
tions are  addressed  only  to  her. 

Commence  the  game  by  announcing  that  you  propose  to 
give  a  picnic,  that  it  depends  upon  what  your  guests  will  bring 
for  lunch  whether  they  will  be  allowed  to  attend,  and  that  each 
one  must  furnish  two  articles  of  food.  Then  ask  the  person 
nearest  you,  What  will  you  take  to  the  picnic  ?  If  the  name  of 
neither  of  the  articles  she  mentions  commences  with  the  initial 
letter  of  her  Christian  name  or  surname  tell  her  she  cannot  go, 
and  put  the  question  to  the  next  person,  asking  each  in  turn, 
What  will  you  take  to  the  picnic  ? 

For  example,  we  will  suppose  that  the  name  of  one  of  the 
party  is  Susan  Davis,  and  she  says  she  will  take  crackers  and 
lemons,  she  cannot  go,  as  neither  of  her  names  commence  with 


Quiet  Games  for  Hot  Weather.          157 

C  or  L  ;  but  if  she  proproses  to  take  salmon  and  doughnuts, 
she  will  be  doubly  welcome,  since  S  and  D  are  both  her  in- 
itials. Should  she  say  sugar  and  cream,  she  could  go  for  one  of 
her  names  commences  with  S. 

Continue  to  put  the  question  to  each  player  until  all,  or 
nearly  all,  have  discovered  why  their  proposed  contribution  to 
the  lunch  secures  them  a  welcome,  or  debars  them  from  attend- 
ing the  picnic. 

Assumed  Characters. 

In  this  game  some  well-known  novelist  is  selected — Dickens, 
for  instance — and  each  player  chooses  one  of  his  characters  to 
personate,  telling  no  one  her  choice.  Then  one  of  the  players 
relates  the  life  as  though  it  were  her  own,  and  portrays  with 
voice  and  gesture  the  character  she  has  assumed.  Of  course  no 
names  must  be  mentioned. 

The  person  who  first  guesses  what  character  is  being  per- 
sonated has  the  privilege  of  deciding  who  shall  be  the  next  to 
tell  her  story. 

The  game  of  Assumed  Characters  will  prove  to  be  very  en- 
tertaining if  each  player  does  her  part  and  makes  her  narrative 
as  amusing  and  interesting  as  possible. 

Shadow  Verbs. 

A  white  sheet  is  fastened  tightly  across  a  French  window,  or 
doorway  opening  upon  the  piazza,  and  a  large  lamp  set  behind  it. 

The  company  separates  into  two  parties  ;  one  enters  the 
house,  while  the  other  remains  seated  upon  the  piazza  facing 
the  suspended  sheet. 

The  outside  party  chooses  a  verb  which  the  others  are  to 
guess  and  perform.  When  their  decision  is  made  they  call  the 
leader  of  the  inside  party  and  say,  "  The  verb  we  have  chosen 


158 


Summer. 


rhymes  with  rake,"  or  whatever  it  may  rhyme  with.  The 
leader  then  joins  her  followers  and  consults  with  them  what  the 
first  guess  shall  be.  It  is  best  to  take  the  verbs  which  rhyme 
with  the  noun  given  in  alphabetical  order.  Bake  would  come 
first  for  rake,  and  if  it  is  decided  that  they  shall  act  this,  several 
of  the  party  step  before  the  lamp,  which  casts  their  shadows  on 
the  sheet  and,  without  speaking,  go  through  the  motions  of 
making  and  baking  bread.  If  the  guess  is  right  (that  is  if  to 
bake  was  the  verb  chosen)  the  spectators  clap  their  hands  ;  if 
wrong,  they  cry,  No,  no. 

When  they  hear  the  no,  no,  the  actors  retire  and  arrange 
what  to  do  next.  Make,  quake,  take,  wake  are  all  acted  in 
turn,  until  the  clap  of  approval  announces  that  they  have  been 
successful  in  guessing  the  verb.  Then  the  actors  take  the  seats 
vacated  by  the  spectators,  who  in  their  turn  enter  the  house 
to  become  shadows  and  act  the  verbs  chosen  by  the  other  party, 
and  the  game  goes  on  as  before.  A  little  ingenuity  on  the  part 
of  the  players  in  producing  funny  and  absurd  shadows  makes 
the  whole  thing  very  laughable  and  causes  great  amusement. 

There  are  an  unlimited  number  of  games  that  may  be 
played,  but  the  object  of  this  chapter  is  not  so  much  to  de- 
scribe the  games  as  it  is  to  illustrate  those  that  are  appropriate 
to  the  quiet  and  delightful  entertainment  known  as  a  door- 
step party. 


**»* 


CHAPTER    XIV. 


HOW   TO    MAKE    A   HAMMOCK. 


\V    NDERNEATH  the  spreading  branches  of  the 
*~~      cool,  shady  tree  swings  our  hammock. 

Through  the  intertwining  boughs  the  gold- 
en sunlight  is  sifted  in  bright  little  dashes  on 
the  leafy  foliage  below.  Lying  ensconced 
in  its  lacy  meshes  idly  listening  to  the  hum 
of  the  busy  bumble-bees  at  work  among  the 
red  clover,  or  gazing  up  through  the  leafy 
canopy  to  the  blue  heavens  where  now  and 
then  fleecy  white  clouds  float  softly  past,  or  watching  a  flight 
of  birds  skim  o'er  the  distant  horizon,  who  would  not  be  lulled 
by  the  harmony  of  the  summer  day  !  A  delightful  languor 
steals  over  us  and  we  unconsciously  drift  into  the  land  of 
dreams  where  perfect  rest  is  found.  We  awaken  refreshed,  to 
again  gently  swing  back  and  forth  and  vaguely  wonder  who 
could  have  first  thought  of  this  most  delightful  invention.  It  is 
said  that  we  owe  the  luxury  to  the  Athenian,  General  Alcibi- 
ades,  who,  in  415  B.C.  first  made  the  swinging  bed.  The  word 
hammock  is  taken  from  hamacas  or  hamac,  an  Indian  word 
which  Columbus  relates  as  being  used  by  the  Indians  to  sig- 
nify a  hanging  bed  composed  of  netting.  What  these  unciv- 
ilized red  men  made  with  their  rude  implements,  we  ought  to 
be  able  with  our  modern  facilities  to  accomplish  very  easily 
and  quickly. 


How  to  Make  a  Hammock. 


161 


It  is  not  difficult  to  make  a  hammock  ;  anyone  can  soon  knit 
one  that  is  strong  and  comfortable,  and  it  should  not  cost  more 


incizes — 


Fig. 9  8 


Ffy.99 


Mesh- sticks. 


than  fifty  cents.     The  materials  required  will  be  one  hammock- 
needle  about  nine  inches  long  (this  can  be  whittled  out  of  hick- 
Ax  ory  or  ash,  or  purchased  for  ten  cents) ;  two 
iron  rings  two  and  one-half  inches  in  diam- 
eter, which  will  cost  about  five  cents  each  ; 
two  mesh-sticks   or  fids,  one   twenty  inches 
long  and  eight  inches  wide  bevelled  on  both 


\ 


Fig.  100 — Hammock  Needle. 


Fig.  101.— The  Loop.      Fig.  102.— Small  Fid  and  Loop. 


edges  (Fig.  98)  :  the  other  nine  inches  long  and  two  and  one- 
half  inches  wide,  bevelled  on  the  long  edge  (Fig.  99) ;  these 
you  can  easily  make  yourself  from  any  kind  of  wood. 


1 62 


Summer. 


One  pound  of  Macreme  cord  number  twenty-four,  or  ham- 
mock twine  of  the  same  number,  which  can  be  had  for  less  than 

thirty  cents  ;  color- 
ed cord  comes  five 
cents  extra. 

Wind  the  cord  in 
balls,  as  it  is  then 
more  convenient  to 
handle,  and  begin 
making  your  ham- 
mock. First,  thread 
the  needle  by  taking 
it  in  the  left  hand 
and  using  the  thumb 
to  hold  the  end  of 
the  cord  in  place, 
while  looping  it 
over  the  tongue 
(Fig.  100)  ;  pass  the 
cord  down  under 
the  needle  to  the 
opposite  side  and 
catch  it  over  the 
tongue  ;  repeat  this 
until  the  needle  is 
full. 

Next,  make  a 
loop  of  a  piece  of 
cord  two  yards  long 
and  fasten  this  to 
any  suitable  place 

101) — a  door-knob  will   do  very  well  ;    then   tie  the  cord 
on  your  needle  three  inches  from   the   end  to  this  loop.     Place 


How  to  Make  a  Hammock. 


163 


the  small  fid  under  the  cord,  the  bevelled  edge  close  to  the 
loop  (Fig.  102).  With  your  thumb  on  the  cord  to  hold  it  in 
place  while  you  pass  the  needle  around  the 
fid,  and  with  its  point  toward  you,  pass  it 
through  the  loop  from  the  top,  bringing  it 
over  the  fid,  so  forming  the  first  half  of  the 
knot  (Fig.  103).  Pull  this  taut,  holding  it 
in  place  with  your  thumb  while  throwing 
the  cord  over  your  hand,  which  forms  the 
loop  as  in  (Fig.  104).  Then  pass  the  needle 
from  under  through  the  loops,  drawing  it 
tight  to  fasten  the  knot.  Hold  it  in  place 
with  your  thumb,  and  repeat  the  op- 
eration for  the  next  knot.  Fig.  105 
shows  a  number  of  these  knots  fin- 
ished. A  is  a  loosened  knot,  making 
plain  its  construction.  B,  in  Figs.  103, 
104,  and  105,  is 
the  cord  running 
to  the  needle, 
and  D  is  the  fid. 

When    thirty   meshes   are    finished    shove 
them  off  the  fid  (Fig.  106),  as  this  number 
will  make  the  hammock  sufficient- 
ly wide. 

Commence  the  next  row  by 
again  placing  the  fid  under  the 
-cord,  and  take  up  the  first  mesh, 
drawing  it  close  to  the  fid  ;  hold 
it  in  place  with  your  thumb  while 
throwing  the  cord  over  your  hand  ;  pass  the  needle  on  the  left 
hand-side  of  the  mesh  from  under  through  the  loop  thrown 
•over  your  hand  (Fig.  107)  ;  pull  this  tight  and  -you  will  have 


Fig.  106.— Meshes. 


Fig.  107 — Commencing  the  Second 
Row. 


164 


Summer. 


Fig.  108.— Fisherman's  Knot. 


On  the  Ring. 


tied  the  common  knitting-knot  ;  proceed  in  like  manner  with 
all  the  loops  in  rotation  until  the  row  is  .finished.  When  it  is 
necessary  to  thread  or  fill  your  needle, 
tie  the  ends  of  the  cord  with  the  fisher- 
man's knot  shown  in  Fig.  108,  which 
cannot  slip  when  properly  tightened. 
Wrap  each  end  of  the  cord  from  the  knot 
securely  to  the  main  cord  with  strong 
thread  to  give  a  neat  appearance 
to  the  hammock. 

Continue  knitting  until  thirty 
rows  are  finished. 

Then  use  the  large  fid,  knit- 
ting one  row  on  the  short  side 
first,  next  one  on  the  long  side. 
This  accomplished,  knit  the 
meshes  to  the  ring  by  passing 
the  needle  through  it  from  the 
top,  knitting  them  to  the  ring  in 
rotation  as  if  they  were  on  the 
mesh-stick  or  fid  (Fig.  109).  When 
finished  tie  the  string  securely  to 
the  ring,  and  one  end  of  your 
hammock  is  finished. 

Cut    the    loop    on   which 
first  row  was  knitted,  and 
draw  it  through  the  knots. 
Tie  the  end  of  the  cord  on 
your  needle  to  the   same 
piece    used    in    fastening 
the  end  of  the  first  needleful  to  the  loop  (Fig.  no),  and  knit 
the  long  meshes  to  the   other  ring  as  described.     This  com- 
pleted, the  hammock  is  finished. 


How  to  Make  a  Hammock.  165 

To  swing  it,  secure  two  pieces  of  strong  rope  and  fasten 
them  firmly  to  the  iron  rings,  the  length  of  the  rope  depend- 
ing upon  the  space  between  the  two  points  from  which  you  wish 
it  to  hang.  These  should  be  if  possible  twelve  or  fifteen  feet 
apart  and  at  least  ten  feet  high,  to  give  your  hammock  sufficient 
room  to  swing  freely. 

This  suspended  bed  will  furnish  a  welcome  retreat  when  the 
weather  is  too  warm  to  admit  of  games,  walks,  or  other  amuse- 
ments. Then,  with  some  favorite  book,  or  if  even  reading  is 
too  much  of  an  exertion,  simply  to  lie  indolently  in  the  ham- 
mock is  a  comfort,  so  restful  and  quiet  that  the  time  quickly 
passes,  and  we  are  made  better  and  brighter  for  our  short,  pas- 
sive repose. 

Very  decorative  nets,  and  useful  ones  of  many  kinds,  includ- 
ing fish-nets  and  minnow-seines,  are  made  with  the  same  stitch 
as  that  used  in  the  hammock.  The  size  of  the  mesh  is  regu- 
lated by  the  circumference  of  the  fid,  and  the  twine  used  is  fine 
or  coarse,  according  to  the  style  of  net  desired. 

Barrel  Hammock. 

When  in  the  Catskills  last  summer  the  writer  saw  for  the 
first  time  a  hammock  made  of  a  barrel.  It  was  painted  red 
and  looked  very  cheery  and  inviting  hanging  under  the  green 
boughs  ;  the  two  colors,  being  complementary,  harmonized 
beautifully. 

This  hammock  was  made  of  a  piece  of  strong  rope  twenty 
feet  long  threaded  in  and  out  of  barrel  staves,  and  was  sub- 
stantial and  durable.  The  construction  of  such  a  hammock  is 
very  simple.  Remove  the  top  and  bottom  hoops  and  nails 
from  a  firm,  clean  barrel.  Then  before  taking  off  the  remain- 
ing hoops  draw  a  pencil-line  around  both  ends  of  the  barrel, 
being  careful  to  have  the  marking  three  inches  from  and  parallel 


1 66 


Summer. 


to  the  edges  ;  this  is  for  a  guide 
when    making    the    two   holes    in 
each  end  of  all  the  staves.     Bore 
the    holes    with    a   five- 
eighth    of  an    inch    au- 
gur or  a  red-hot  poker, 
using  the  pencil-line  as 
a  centre  ;  leave  an  equal 
margin  on  both  sides  of 
the    staves,   and    at   the 
same  time  enough  space 
in  the  centre  to  preclude 
all  danger  of  breakage. 

Fasten  the  staves  to- 
gether by  threading  the  rope  through  the  hole   from  the  out 


How  to  Make  a  Hammock. 


side  of  the  first  stave,  then  across  the  inside  of  the  stave  down 
through  the  other  hole  (see  illustration).  Continue  threading 
until  one  side  is  finished,  then  in  like  manner  thread  the  other 
side.  Knock  off  the  remaining  hoops  and  the  staves  will  ap- 
pear as  shown  at  bottom  of  illustration.  Tie  the  two  ends  of 
the  rope  together  and  fasten  loops  of  rope  on  both  ends  ;  these 
should  be  of  sufficient  length  to  conveniently  swing  the  ham- 
mock. When  threading  the  staves  let  the  rope  be  loose 
enough  to  leave  a  space  of  an  inch  or  so  between  each  stave 
when  the  barrel  is  spread  out  in  the  form  of  a  hammock. 

In  this  way  you  can  have  a  serviceable  hammock,  the  cost 
of  which  will  be  about  twenty-five  cents  and  a  little  labor. 


Grandmamma's  Dolls. 


CHAPTER  XV. 

(FOR    LITTLE    GIRLS.) 
CORN-HUSK    AND    FLOWER    DOLLS. 

such  beautiful  dolls  as  delight 
the  hearts  of  the  children  of 
to-day,  ever  peeped  forth  from 
the  Christmas-stockings  of  our 
grandmothers  or  great-grand- 
mothers when  they  were  little 
girls.  In  those  times  there 
were  not,  as  there  are  now, 
thousands  of  people  doing 
nothing  but  making  toys  for 
the  entertainment  and  pleas- 
ure of  the  little  ones,  and  the 
motherly  little  hearts  were 
fain  to  content  themselves 
with  lavishing  unlimited  af- 
fection and  care  upon  a  rag,  wooden,  or  corn-husk  baby,  made 
and  dressed  at  home.  Since  then  almost  every  child  tired  of, 
and  surfeited  with  handsome  and  expensive  toys,  has  been 
glad  at  times  to  get  grandma  to  make  for  her  a  real  old-fash- 
ioned dollie  which  might  be  hugged  in  rapturous  moments  of 
affection  without  fear  of  dislocating  some  of  its  numerous 
joints,  or  putting  out  of  order  its  speaking  or  crying  apparatus; 


i  yo 


Summer. 


and  might  in  times  of  forgetfulness  be  dropped  on  the  floor 
and  suffer  no  injury  thereby.  Such  a  doll  is  just  the  kind  to 
adopt  for  the  summer.  The  fine  French  doll  with 
its  delicate  wax  or  china  face,  silky  hair,  and 
dainty  toilets,  is  more  suited  to  the  elegances  of 
the  parlor  than  to  the  wear  and  tear  of  out-door 
life,  and  everyone  knows  that  summer  holidays 
spent  in  the  country  are  far  too  precious  to  be 
wasted  taking  care  of  anyone's  complexion,  let 
alone  a  doll's  ;  so  it  is  best  to  leave  the  city  doll 
in  her  city  home,  safe  out  of  harm's  way,  and 
manufacture,  from  materials  to  be  found  in  the 
country,  one  more  suited  to 
country  surroundings. 

Corn -husks,    corn-cobs, 
and  ordinary  garden  flowers 
can  be  made  into  dolls  which, 
although  not  quite  so  pretty 
nor  so  shapely  as  those  pro- 
duced from  more  costly  ma- 
terial, yet  possess    a   charm 
of  their  own  which  the  children  are  not  slow 
to  perceive. 

Little  Indian  girls,  to  whom  store  babies 
are  unknown,  make  the  most  complete  and 
durable  corn-husk  dolls,  and  the  following 
directions  tell  just  how  to  construct  them  : 

Provide  yourself  with  the  husks  of  sev- 
eral large  ears  of  corn,  and  from  among 
them  select  the  soft  white  ones  which  grow 
closest  to  the  ear.  Place  the  stiff  ends  of 
two  husks  together,  fold  a  long,  soft  husk  in  a  lengthwise  strip, 
and  wind  it  around  the  ends  so  placed  as  in  Fig.  in.  Select 


/iff.  /It 

Head  Commenced 


The  Corn  Husk 


Corn-husk  and  Flower  Dolls. 


171 


the  softest  and  widest  husk  you  can  find,  fold  it  across  the  cen- 
tre and  place  a  piece  of  strong  thread  through  it  (as  in  Fig. 
1 12),  draw  it  in,  tie  it  se- 
curely (Fig.  113),  place  it 
entirely  over  the  husks 
you  have  wound,  then 
bring  it  down  smoothly 
and  tie  with  thread  under- 
neath (Fig.  114);  this  will  form  the 
head  and  neck.  To  make  the  arms, 

divide  the 

U  husks  be- 

ill  low  the 
neck  in 
two  equal 
parts,  fold 
together 
two  or 
more 
husks  and 
ins  e  r  t 
them  in 
the  divis- 
ion (Fig.  115).  Hold  the  arms  in 
place  with  one  hand,  while  with  the 
other  you  fold  alternately  over  each 
shoulder  several  layers  of  husks,  al- 
lowing them  to  extend  down  the 
front  and  back.  When  the  little 
form  seems  plump  enough,  use 
your  best  husks  for  the  topmost 

layers  and  wrap  the  waist  with  strong  thread,  tying  it  securely 
(Fig.  116).      Next  divide  the  husks  below  the  waist  and  make 


Head  and  Arms. 


Corn-husk  Tied.         Head  Finished. 


172 


Summer. 


the  legs  by  neatly  wrapping  each  portion  with  thread,  trim- 
ming them  off  evenly  at  the  feet.  Finally,  twist  the  arms 
once  or  twice,  tie,  and  trim  them  off  at  the  hands.  The  features 
can  be  drawn  on  the  face  with  pen  and  ink,  or  may  be  formed 
of  small  thorns  from  the  rose-bush.  Fig.  117  shows  the  doll 
complete,  minus  its  costume,  which  may  be  of  almost  any  style 
or  material,  from  the  pretty  robe  of  a  civilized  lady  to  the  more 


Head,  Arms,  and  Body. 


Finished  Doll, 


scanty  garments  of  its  originator,  the  Indian.  The  doll  is  rep- 
resented in  full  Indian  costume  in  Fig.  118.  The  war-paint  and 
tomahawk  are  not  necessary  here,  as  he  is  smoking  a  pipe  of 
peace.  His  apparel  is  composed  of  one  garment,  which  is  cut 
from  a  broad,  soft  corn-husk,  after  the  pattern  given  in  Fig.  1 19. 
A  narrow  strip  of  husk  tied  about  his  waist  forms  the  belt. 
His  head-dress  is  made  of  small  chicken  feathers  stuck  at 


Corn-husk  and  Flower  Dolls. 


173 


regular  intervals  into  a  strip  of  husk.  The  corn-silk  hair  is 
placed  on  his  head,  and  on  top  of  that  one  end  of  the  head- 
dress is  fastened  with  a  thorn. 

A  small  twig  is  used  for  the  stem  of  his  pipe,  and  two  rose- 
bush thorns  form  the  bowl.     Instead  of  using  a  thorn  for  his 


A  Real  Indian  Doll. 


fly.  I  19 

The  Indian's  Dress. 


mouth,  a  round  hole  is  punched  in  the  face  and  the  stem  of 
the  pipe  inserted. 

Mary  Jane. 

Here  is  another  way  of  making  a  doll  which  is  very  easy  and 
simple.  First  find  a  young  ear  of  corn,  one  on  which  the  silk 
has  not  turned  brown  ;  then  with  a  crab-apple  for  a  head  and 
a  leaf  of  the  corn  to  dress  her  with,  you  have  your  material. 


Summer. 


Cut  off  squarely  that  end  of  the  ear  where  the  husks  are  puck- 
ered, to  join  the  stalk,  and  carefully  take  the  silk  from  the  other 
end,  disturbing  as  little  as  possible  the  closely  wrapped  husks. 

Roll  part  of  the  leaf  (as  indicated  in  Fig.  120)  for  the  arms, 
then  with  a  small  twig  fasten  the  head  to  the  arms  ;   stick  the 


Material  and  Parts  of  Doll. 


Mary  Jane. 


other  end  of  the  twig  into  the  small  end  of  the  corn-cob,  and 
the  doll  is  ready  for  dressing.  Her  bonnet  is  made  of  the  leaf 
just  where  it  joins  the  stalk  (Fig.  12 1),  and  is  fastened  to  her 
head  with  a  thorn.  Before  adjusting  the  bonnet,  however,  the 
silk  must  be  placed  on  the  head  to  form  the  hair. 


Corn-husk  and  Flower  Dolls. 


Make  the  scarf  of  part  of  the  leaf  (Fig.  122),  fold  it  around 
the  shoulders,  and  secure  it  with  thorns. 

The  features  also  are  made  of  thorns. 

When  her  toilet  is  complete,  you  can  but  acknowledge  that 
this  rosy-cheeked  little  maid,  peeping  from  beneath  her  poke- 
bonnet,  is  very  cunning  indeed. 


Flower  Dolls. 

The  flower  lady  with  the  baby  is  made  of  a  yellow  gourd 
flower  ;    the   small  gourd   attached,  which   has  just    begun   to 


form,  serves  for  her  head  ;  a  green  gourd  leaf  is  used  for  her 
shawl,  and  her  bonnet  is  made  of  a  smaller  leaf  folded  to  fit  her 
head.  The  baby  is  a  white  gourd  bud,  with  a  cap  made  of  a 


1 76  Summer. 


leaf.  A  small  twig  stuck  through  part  of  the  lady's  shawl, 
through  the  baby,  and  into  the  lady  doll,  holds  the  child  in 
place  and  makes  it  appear  as  though  clasped  in  the  mother's 
arms. 

The  features  of  both  dolls  are  scratched  on  with  a  pin  and 
then  inked.  To  make  the  lady  stand  erect,  a  small  twig  is  stuck 
into  the  heart  of  the  flower,  and  the  other  end  into  the  top  of  a 
small  paste-board-box  lid. 

The  other  flower  doll  is  made  of  the  common  garden  flowers. 
The  underskirt  is  a  petunia  ;  a  Canterbury-bell  forms  the  over- 
skirt  and  waist;  small  twigs,  or  broom-straws  stuck  through 
buds  of  the  phlox,  are  the  arms,  and  the  head  is  a  daisy  with 
the  petals  cut  off  to  look  like  a  bonnet.  The  features  are  made 
with  pen  and  ink  on  the  yellow  centre.  A  reversed  daisy  forms 
the  parasol. 

If  the  flowers  named  are  not  at  hand,  those  of  a  similar 
shape  will  answer  just  as  well. 

Gaily  dressed  little  ladies  can  be  made  of  the  brilliantly 
tinted  hollyhocks,  and  many  other  flowers  can  also  be  trans- 
formed into  these  pretty  though  perishable  dolls. 


CHAPTER   XVI. 
HOW   TO    MAKE   A   FAN. 

"  That  graceful  toy  whose 

moving  play 

With  gentle  gales  relieves 
the  sultry  day." 

FAN  is  only  a  pretty  trifle, 
yet  it  has  been  made  rather 
an  important  one.  To  man- 
age a  fan  gracefully  was  some 
time  ago  considered  very  es- 
sential by  fair  dames  of  soci- 
ety, and  in  the  dainty  hand 
of  many  a  famous  beauty  it 
«  has  played  a  conspicuous 

part.  Queen  Elizabeth  regarded  it  with  so  much  favor  that 
she  was  called  the  "  Patron  of  Fans,"  and  she  made  a  rule  that 
no  present  save  a  fan  should  be  accepted  by  English  queens 
from  their  subjects. 

Although  held  in  such  high  esteem,  it  is  only  since  the  in- 
flux of  any  and  every  thing  Japanese  that  we  have  had  fans  in 
such  profusion,  and  have  discovered  how  effective  they  are 
when  used  for  decorative  purposes. 

A  brilliantly  tinted  fan  is  of  equal  value  in  giving  just  the 
right  touch  of  color  to  a  costume  or  the  decorations  of  a  room, 
and  this  chapter  will  show  how  the  girls  can  make  the  fans 


1 78 


Summer. 


themselves,   and  have  for   use   or  for    the  adornment  of  their 
rooms  those  of  various  shapes,  sizes,  and  colors.     The  first  fan 

represented  here  is 
made  in  the  form 
of  a  butterfly.  The 
principal  articles 
necessary  for  its 
manufacture  are  a 
strip  of  smooth, 
brown  wrapping- 
paper,  stiff  enough 
to  keep  its  folds, 
and  two  sticks  for 
handles.  The  rib- 
bon which,  in  the 
illustration,  ties  the 
handles  together 
looks  pretty,  but  is 
not  indispensable  ; 
an  elastic  band,  or 
one  made  of  nar- 
row ribbon,  slipped 
over  the  sticks  will 
do  as  well. 

The  paper  must 
be  twenty-eight 
inches  long  and  five 
and  one-half  inches 
wide.  In  order  to 
fold  it  evenly  it 
should  be  ruled  across  with  lines  one-half  inch  apart,  as  shown 
in  diagram  of  butterfly  (page  179).  When  the  paper  is  pre- 
pared the  pattern  can  be  copied  from  the  diagram,  which  is 


Butterfly  Fan. 


How  to  Make  a  Fan. 


179 


half  of  the  butterfly.     By  counting  the  lines  and  using  them  as 
guides  for  obtaining  the  proportions,  an  exact  reproduction  of 


Diagram  of  one-half  of  Butterflf  Fan. 

this  pattern  can  be  made.    The  outlines  being  drawn,  the  paper 

must  be  plaited,  one  fold  on  top  of 

another,    until    twenty-seven    plaits 

have  been  laid.      Smoothing  out  the 

paper  again,  the  butterfly  should  be 

painted    with    water-colors    in    flat, 

even  tints. 

The  lower  part  of  diagram  is  the 
body  of  the  insect  and  is  of  a  light- 
brown  color,  also  the  space  just  be- 
low the  head,  which  is  surrounded 
by  a  strip  of  black. 

The  head  and  eyes  are  black, 
the  eyes  having  a  half-circle  of 
white  to  separate  them  from  the 
head.  The  main  part  of  the  wings 


/ 


Flg-  123> 


Fig.  125. 
Folded  Fans. 


Handle. 


i8o  Summer. 


are  a  brownish  purple,  next  to  which  comes  a  border  of  very 
dark  purple  with  light-blue  spots.  The  outer  border  is  light 
yellow.  When  the  paint  is  quite  dry  the  extra  paper  at  the 
top  of  the  butterfly  is  to  be  cut  away.  Again  the  fan  must  be 
plaited  in  the 
folds  already 
formed,  and 
the  plaits 
fastened  to- 
gether at  one 
end  with  a 
strong  needle 
and  thread,  as 
shown  in  dia- 
gram (Fig.  123). 
Fig.  124  shows 
the  shape  of  the 
handles,  two  of 
which  are  re- 
quired ;  they 
should  be  about 
nine  inches 
long,  one-third 

r         .       ,         .  .  The  Mikado  Fan. 

of  an  inch  wide, 

and  one-eighth   of  an   inch   thick.     A  handle   must 
be  glued  to  the  last  fold  at  each  end  of  the  fan  (see 
Fig.   125).     The    fan  should    be   kept  closed    until    the 
glue  is  dry,  when  it  may  be  opened  and  used  at  pleasure. 

Our  next  sketch  is  that  of  the  Mikado  fan,  and  represents  a 
Japanese  lady  who,  with  her  fan  held  aloft,  is  making  a  bow- 
ing salutation. 

This  fan  is  made  of  the  same  paper  as  that  used  for  the  but- 
terfly, and  is  cut  the  same  width  ;  there  are,  however,  twenty- 


How  to  Make  a  Fan. 


181 


nine  plaits  instead  of  twenty-seven,  as  in  the  other.  The  dia- 
gram gives  the  pattern  in  two  parts,  and  the  colors  it  is  to  be 
painted  ;  the  face  and  hands  should  be  of  a  flesh-tint  and  the 
features  done  with  black  in  outline.  The  directions  for  put- 
ting together  the  butterfly  apply  as  well  to  the  Mikado  fan. 


Pattern  of  Mikado  Fan. 

The  third  illustration  shows  a  fan  made  in  the  shape  of  a 
daisy.  Diagram  on  page  183  shows  a  section  of  the  pattern. 

White  paper  should  be  used,  and  it  must  be  laid  in  thirty- 
four  plaits,  which  will  give  the  flower  fifteen  whole  and  two 
half  petals,  the  half  petals  being  at  each  end. 

The  tinted  part  of  pattern  indicates  where  it  is  painted  yel- 
low to  form  the  centre  of  the  daisy. 


1 82  Summer. 


For  a  plain  round  fan  no  pattern  is  needed.  It  is  made 
simply  of  a  strip  of  paper,  of  the  width  used  for  the  other  fans, 
and  has  about  thirty  plaits.  When  fans  of  this  kind  are  made 

of  colored  paper  in 
solid  tints  they  are 
very  pretty.  Pieces 
of  bright,  figured 
wall-paper  left  from 
papering  a  room 
can  be  utilized,  and 
quite  effective  fans 
be  made  of  them  to 
use  for  decoration. 
Another  style  of 
fan  is  represented 
in  our  last  illustra- 
tion. It  is  made  of 
twenty  slats  of  card- 
board cut  after  pat- 
tern Fig.  126.  These 

Daisy  Fan.  .     . 

slats  are  joined  to- 
gether at  the  top  and  centre  with  narrow  ribbon 
passed  through  the  slits  cut  for  it,  as  shown  in 
Fig.  127.  Over  the  ribbon  where  it  passes  through 
the  top  slits,  on  the  wrong  side  of  the  fan,  square 
pieces  of  paper  are  pasted,  which  hold  the  ribbon 
down  securely  at  these  points.  The  paper  is  pasted 
only  at  each  end  of  the  ribbon  in  the  middle  row.  It  is 
best  to  leave  one  end  of  this  ribbon  loose  until  the  fan  is 
joined  at  the  bottom  ;  then  opening  the  fan,  and  drawing  the 
ribbon  until  it  fits  the  fan  smoothly,  it  can  be  cut  the  right 
length  and  the  loose  end  fastened  down.  A  ribbon  is  also 
used  to  hold  the  slats  together  at  the  bottom  ;  a  bow  at  each 


How  to  Make  a  Fan. 


183 


V 


\/ 


\ 


side  keeps  them  in  place  (see  Fig.  128).     When  a  large  fan  for 

decoration  is  desired,  the  slats  should  be  about  eighteen  inches 

long,  two  and  a  half 

inches    wide    at    the 

top,  and   one  and  a 

half  inch  wide  at  the 

bottom.     The    fan 

may  be   larger  still, 

in  which  case  it  can 

be  used  as  a  screen  to 

set  before  an  empty 

fire-place.      For  this 

purpose    the    slats 

have    tO    be    tWO   feet  Pattern  for  Daisy  Fan. 

long,  four  inches  wide  at  the  top,  and  two  and  a  half  inches 

wide  at  the  bottom. 

The  proportions  of  the  slats  for  a   small  hand-fan  are  eight 

and  a  half  inches  long, 
one  and  a  half  inch  wide 
at  the  top,  and  one  inch 
wide  at  the  bottom. 
The  large  fans  should 
be  made  of  heavier  card- 
board or  pasteboard 
than  that  used  for  small- 


er  ones. 

Colored  cardboard, 
which  can  be  bought  at 
almost  any  stationer's,  is 
the  best  to  use,  but  the 
slats  of  ordinary  white 

cardboard  may  be  covered   with   colored  paper   if  more   con- 
venient. 


Construction  of  Cardboard  Fan. 


1 84 


Summer. 


These  fans  may  be  varied  to  suit  the  taste  of  the  girls  who 
make  them.  Instead  of  a  solid  color,  one  can  be  made  with 

alternate  slats  of  red 
and  white,  blue  and 
yellow,  or  any  other 
colors  that  harmo- 
nize. Another  may 
show  all  the  tints  of 
the  rainbow,  and  for 
use  on  the  Fourth  of 
July  one  might  dis- 
play the  red,  white, 
and  blue. 

Some  will  look 
especially  handsome 
if  prettily  painted. 
A  dark-red  fan  with 
a  branch  of  dogwood- 
blossoms  painted 
across  it  makes  a 
charming  wall  dec- 
oration, as  does  also  one  of  light  blue  with  pine-branch  and 
cone  painted  in  brown  or  black. 

A  gilt  fan  lightens  up  a  dusky  corner  beautifully  ;  it  can 
be  curved  around  to  fit  the  place,  and  catching  and  reflecting 
the  light  at  all  angles,  as  it  does,  it  is  quite  effective. 


Cardboard  Fan. 


CHAPTER  XVII. 

ALL-HALLOW-EVE. 

A  D  I  A  N  T  and  beautiful  October,  whose 
changing  color  heralds  the  approach  of  win- 
ter, gives  us  our  first  autumn  holiday,  if 
Halloween  can  now  be  called  a  holiday. 

Before  the  Christian  era,  in  the  days  of 
the  ancient  Celts  and  their  priests,  the 
Druids,  the  eve  of  the  first  of  November 
was  the  time  for  one  of  the  three  principal  festivals  of  the  year. 
The  first  of  May  was  celebrated  for  the  sowing  ;  the  solstice  on 
the  twenty-first  of  June  for  the  ripening,  and  the  eve  of  the  first 
of  November  for  the  harvesting.  At  each  of  these  festivals 
great  fires  were  built  on  the  hill-tops  in  honor  of  the  sun,  which 
the  people  worshipped.  When  Christianity  took  the  place  of 
the  heathen  religion,  the  Church,  instead  of  forbidding  the  cele- 
bration of  these  days,  gave  them  different  meanings,  and  in 
this  way  the  ancient  harvest-festival  of  the  Celts  became  All- 
Hallow-Eve,  or  the  eve  of  All-Saints-Day,  the  first  day  of  No- 
vember having  been  dedicated  to  all  of  the  saints. 

For  a  long  while  most  of  the  old  customs  of  these  holidays 
were  retained;  then,  although  new  ceremonies  were  gradually 
introduced,  Hallow-Eve  remained  the  night  of  the  year  for  wild, 
mysterious,  and  superstitious  rites.  Fairies  and  all  supernat- 
ural beings  were  believed  to  be  abroad  at  this  time,  and  to 
exercise  more  than  their  usual  power  over  earthly  mortals.  Be- 
cause the  fairy  folk  were  believed  to  be  so  near  us  on  Hallow- 


Kaling. 


A II- Hallow- Eve.  189 

een,  it  was  considered  the  best  evening  of  the  season  for  the 
practice  of  magic,  and  the  customs  observed  on  this  night  be- 
came mostly  those  of  divination,  by  the  aid  of  which  it  was 
thought  the  future  might  be  read. 

Before  proceeding  further  with  this  subject  we  desire  our 
readers  to  appreciate  and  fully  understand  that  we  are  far  from 
wishing  to  inculcate  any  superstitious  belief  in  the  power  of 
charms  to  forecast  future  events;  that  we  regard  all  fortune- 
telling  as  nonsense,  pure  and  simple,  and  only  insert  it  here, 
as  we  would  any  other  game,  for  the  sake  of  the  amusement  it 
affords.  Although,  to  make  our  descriptions  more  intelligible, 
we  announce  the  results  of  charms  as  facts,  we  would  not  have 
it  understood  that  they  are  to  be  taken  as  such. 

Nowadays,  so  practical  has  the  world  become,  no  fairy, 
witch,  or  geni  could  we  conjure  up,  were  we  to  practice  all  the 
charms  and  spells  ever  known  to  soothsayer  or  seer.  Our  busy, 
common-sense  age  allows  no  fairies  to  interfere  with  its  concerns, 
and  these  creatures,  who  existed  only  in  the  belief  of  the  people, 
must  needs  vanish,  to  return  no  more,  when  that  belief  is  gone. 

A  few  fortune-telling  games  are  all  that  now  remain  of  the 
weird  ceremonies  that  once  constituted  the  rites  of  Halloween, 
and  the  spirit  of  this  old  heathen  holiday  is  once  more  changed, 
for  it  is  now  considered  only  an  occasion  for  fun  and  frolic. 

It  was  the  custom  for  quite  a  number  of  years  of  some 
friends  of  the  writer  to  give  a  Halloween  party  on  each  recur- 
ring Halloween  ;  and  merrier,  jollier  parties  than  those  were, 
it  would  not  be  easy  to  devise.  The  home  which  opened  wide 
its  hospitable  doors  to  the  favored  few  on  this  night  is  a  country- 
house,  large  and  spacious  ;  there  is  a  basement  under  the  whole 
lower  floor,  which  is  divided  into  kitchen,  laundry,  and  various 
store-rooms  intersected  with  passages,  and  this  basement,  de- 
serted by  the  servants,  was  given  up  to  the  use  of  the  Hallow- 
een revellers.  The  rooms  and  passage-ways  were  decorated 


i  go  Autumn. 


with  and  lighted  by  Chinese  lanterns,  which  produced  a  sub- 
dued glow  in  their  immediate  vicinity,  but  left  mysterious 
shadows  in  nooks  and  corners. 

Putting  aside  conventionality  and  dignity  as  we  laid  aside 
our  wraps,  ready  for  any  fun  or  mischief  that  might  be  on 
hand,  we  proceeded  down-stairs  and  into  the  kitchen,  where 
a  large  pot  of  candy  was  found  bubbling  over  the  fire.  This 
candy,  poured  into  plates  half-full  of  nuts,  was  eaten  at  inter- 
vals during  the  evening,  and  served  to  keep  up  the  spirits  of 
those  who  were  inclined  to  be  cast  down  by  the  less  pleasing 
of  Fortune's  decrees.  With  plenty  of  room  and  no  fear  of 
breaking  or  destroying  anything,  which  is  apt  to  put  a  check 
upon  frolics  in  the  parlor,  the  company  could  give  full  vent  to 
their  high  spirits.  Now  in  this  room,  now  in  that,  again  flitting 
through  the  dim  passages  and  around  dark  corners,  each  person 
seemed  to  be  everywhere  at  once,  and  although  the  party  was 
limited  to  about  twenty-five,  there  appeared  to  be  at  least  twice 
that  number  present.  Bursts  of  merry  laughter  and  little 
screams  of  pretended  terror  would  announce,  now  and  then,  that 
some  charm  was  being  gone  through  with  and  someone's  fort- 
une being  told.  All  sorts  of  games  were  played,  and  the  va- 
riety of  our  entertainment  made  the  evening  pass  very  quickly. 
All  too  soon  the  hands  of  the  kitchen  clock  warned  the  guests 
that  to  reach  home  at  a  seasonable  hour  they  must  put  an  end 
to  their  Halloween  festivities.  A  number  of  the  following 
methods  of  telling  fortunes  were  tried  at  these  parties,  one 
might  say  with  success,  for  we  certainly  succeeded  in  accom- 
plishing our  main  object,  which  was,  to  have  a  good  time.  By 

Melted  Lead 

we  used  to  ascertain  what  the  occupation  of  one's  future  hus- 
band would  be.  The  fortune  is  told  in  this  way  :  Each  girl,  in 


All-Hallow-Eve. 


191 


turn,  holds  a  door-key  in  one 
hand,    while   with    the    other 
hand    she    pours    the   melted 
lead,  from  an  iron  spoon  or 
ladle,   through  the   handle 
of  the  key  into  a  pan  of 
cold  water. 

In    the    fanciful 
shapes     the    lead 
assumes  can  be 
traced  resem- 
blances   to 


all    sorts 
of  things. 
Sometim  es 
it   is  a  sword 
or  gun,    which 
indicates  that  a 
soldier  will  win  the 
fair  prize  ;    again, 
traces    of    a   ship 
may  be  seen  :  then 
favored  one  is  to  be  a  sail- 
or; a    |    plough  suggests  a  farmer;     p 
a  book,  a  professor,  or  perhaps  a  min- 
ister; and 
when     the 
lead    forms 
only  drops, 
it    seems    to     mean 
that  the  gentle  in- 
quirer    will    not 


192  Autumn. 


marry,    or    if   she    does,   her  husband  will  be  of  no    profes* 
sion. 

Nutshell  Boats 

foretell  in  a  general  way  what  their  owner's  future  life  will  be- 
They  should  be  prepared  beforehand  in  this  manner  :  Split  an 
English  walnut  directly  in  half,  remove  the 
kernel,  and  clear  away  any  of  the  partitions 
which  may  remain  in  the  shell ;  then  place  a 
short  piece  of  heavy  cotton  string  in  the  shell 
and  pour  around  it  melted  beeswax.  Mould 
the  wax  into  a  cone  shape  around  the  string, 
as  shown  in  Fig.  129,  allowing  the  end  to 
come  out  at  the  top.  Fig.  130  shows  what 
it  is  like  when  finished. 

The  tapers  first  being  lighted,  several  of 
these  little  craft  are  launched  at  the  same 
time,  by  their  respective  owners,  upon  the  sea  of  life,  or,  in 
other  words,  in  a  tub  of  water. 

When  a  light  burns  steadily  until  the  wax  is  all  melted, 
and  the  frail  bark  safely  rides  the  waves  (which  are  occa- 
sioned by  stirring  the  water  with  a  stick,  or  shaking  the  tub 
from  side  to  side),  a  happy  life  is  predicted,  and  a  long  one. 

When  two  boats  come  in  contact,  it  means  that  their  owners 
will  meet  and  have  mutual  interests  some  time  during  their  lives. 
If  one   boat  crosses   another's  path,  it  denotes  that   their 
owners  will  do  the  same. 

If  two  boats  come  together  and  continue  to  sail  about  side 
by  side,  their  owners  will  in  some  way  pass  much  of  their  lives 
together. 

When  a  boat  clings  closely  to  the  sides  of  the  tub,  refusing 
to  sail  out  into  the  centre,  it  shows  that  its  owner  will  be  a  stay- 
at-home. 


All-Hallow-Eve.  193 


Touching  often  at  the  side  of  the  tub  is  indicative  of  short 
voyages  ;  and  extended  travel  is  predicted  when  a  boat  seldom 
touches  the  tub. 

It  depends  a  good  deal  upon  the  fancy  and  imagination  of 
those  testing  their  fate  how  the  antics  of  the  little  fleet  are  in- 
terpreted, and  the  meanings  given  to  the  movements  of  the 
boats  create  no  end  of  fun. 

"Three  Luggies."  * 

"  In  order,  on  the  clean  hearth-stane, 

The  luggies  three  are  ranged, 

And  ev'ry  time  great  care  is  ta'en 

To  see  them  duly  changed." 

The  three  bowls,  or  dishes,  one  containing  clear  water,  one 
milky,  and  the  other  nothing  at  all,  are  placed  in  a  row  on  the 
hearth-stone  or  table,  and  the  girl  wishing  to  try  her  fortune  is 
blindfolded  and  led  up  to  where  the  dishes  stand.  She  is  then 
told  to  put  her  left  hand  into  one  of  the  bowls.  If  she  dips  her 
fingers  in  the  clear  water,  she  will  marry  a  bachelor ;  if  in  the 
milky  water,  a  widower  ;  and  if  into  the  empty  bowl,  it  is  a  sure 
sign  that  she  will  live  in  single  blessedness  all  her  days. 

This  ceremony  must  be  gone  through  with  three  times,  and 
the  hand  be  dipped  twice  in  the  same  bowl,  in  order  to  make 
the  prediction  of  any  value. 

Roasting  Nuts 

is  the  charm  by  which  the  friendship  of  anyone  may  be  tested. 
The  applicant  for  knowledge  on  this  point  names  two  nuts,  one 
for  her  friend  and  the  other  for  herself,  and  then  places  them 
side  by  side  upon  the  grate,  or  a  shovel  held  over  the  fire.  If 
they  burn  quietly,  it  is  prophetic  of  a  long  and  happy  friend- 

*  Dishes. 

'3 


194  Autumn. 


ship  kept  up  by  both  parties  ;  but  if  in  roasting  they  burst  with 
a  loud  report  and  fly  apart,  they  are  decidedly  uncongenial, 
and  should  not  seek  much  intercourse.  The  movements  of  the 
nuts  while  heating  are  closely  watched,  for  the  tempers  of  the 
persons  for  whom  they  are  named  is  said  to  be  thus  revealed. 

Kaling 

is  a  mode  of  telling  one's  fortune  not  as  well  known,  perhaps, 
as  the  foregoing  methods.  The  ceremony  is  carried  out  in  the 
following  manner  :  Two  girls  are  blindfolded  and  started  off  on 
the  path  to  the  kitchen-garden  and  cabbage-patch,  where  each 
pulls  up  the  first  stalk  she  finds.  They  then  return  at  once  to 
the  house,  where  the  bandages  are  removed  and  the  mysterious 
stalks  examined. 

According  to  the  state  of  the  stalk,  so  will  be  the  gatherer's 
fate.  If  it  is  straight  or  crooked,  large  or  small,  so  will  the 
future  husband  be  ;  if  it  has  a  pleasant  taste,  or  the  reverse, 
the  character  of  the  person  will  correspond,  and  the  quan- 
tity of  earth  clinging  to  the  roots  denotes  whether  their  riches 
will  be  little  or  great. 

When  there  are  no  cabbages  at  hand,  almost  any  other  gar- 
den vegetable  will  answer  ;  and  if  there  be  objections  to  going 
out-of-doors,  vegetables  of  various  kinds,  such  as  turnips,  beets, 
and  parsnips,  may  be  placed  on  a  table,  and  the  persons  blind- 
folded can  choose  from  them.  No  doubt  the  charm  will  work 
as  well  with  the  plants  upon  a  table  as  when  they  are  pulled 

from  a  kitchen-garden. 

(X 
The  Magic  Mirror, 

which  is  simply  a  hand-glass  on  ordinary  occasions,  and  gains  its 
mysterious  power  only  on  Halloween,  divulges,  under  certain 
conditions,  the  delightful  secret  of  how  many  bits  of  good-fort- 
une will  fall  to  one's  share  during  the  ensuing  year.  The  con- 


-  Hallow-  Eve.         .  195 


ditions  are  that  the  person  wishing  to  know  how  bright  her 
prospects  are  shall  go  to  an  open  window  or  door  from  which 
the  moon  is  visible,  and,  standing  with  her  face  in-doors,  hold 
her  mirror  so  that  the  moon  will  be  reflected  in  it.  The  num- 
ber of  moons  she  sees  there  betokens  the  number  of  times  some- 
thing pleasant  will  happen  to  her  before  the  advent  of  another 
Halloween.  X> 

Three  Tin  Cups 

partially  filled  with  water  are  balanced  on  the  small  ends  of  three 
funnels,  which  are  placed  in  a  row  on  the  floor,  about  two  feet 
apart.  Over  these  cups,  one  after  another,  each  member  of  the 
party  must  leap  in  turn.  Whoever  succeeds  in  leaping  over  all 
three  cups  without  knocking  any  of  them  off  will  make  an  early 
marriage.  The  person  who  knocks  over  one  will  marry  when 
not  so  young.  The  marriage  of  the  one  who  tips  over  two  cups 
will  be  deferred  until  late  in  life,  and  she  who  leaps  none  of 
them  safely  will  not  be  married  at  all. 

To  guard  against  wet  feet  very  little  water  should  be  put  in 
the  cups  —  only  enough  to  make  the  players  careful  about  tipping 
them  over. 

The  Ring  Cake 

is  always  an  object  of  interest  at  Halloween  parties.  The  cake 
itself  is  made  like  the  ordinary  kind,  but  before  it  is  baked  a 
plain  gold  ring  is  hidden  in  the  dough,  not  to  be  taken  out 
until  the  cake  is  cut  and  it  falls  to  the  share  of  the  fortunate 
person  in  whose  slice  it  happens  to  be  found.  The  ring  is 
sometimes  put  in  a  flour-cake,  which  is  simply  flour  packed  into 
a  cake-mould  so  firmly  that  when  it  is  turned  out  it  retains  the 
shape  of  the  mould  and  can  be  sliced  off  with  a  knife.  Each 
member  of  the  party  cuts  her  or  his  own  section  of  flour,  and 
whoever  secures  the  ring,  it  is  confidently  stated,  will  be  the  first 
of  the  group  to  marry. 


196  Autumn. 


Some  Halloween  games  apparently  have  no  particular 
meaning  attached  to  them,  but  seem  to  be  devised  for  the  pur- 
pose of  creating  as  much  fun  as  possible. 

Bobbing  for  Apples 

is,  perhaps,  familiar  to  most  of  our  readers,  but  we  give  a  de- 
scription of  it  here  for  the  benefit  of  the  few  who  may  not  know 
the  game  so  well. 

In  a  large  tub  full  of  fresh,  cold  water  several  apples  are 
placed,  and  it  is  the  object  of  the  participators  to  take  them  out 
of  the  water  with  their  teeth. 

As  the  rosy-cheeked,  tempting  fruit  bobs  about  within  easy 
reach,  it  looks  simple  enough  to  secure  a  prize ;  but  the  apples 
are  so  round  and  slippery,  so  aggravatingly  illusive,  that,  unless 
you  thrust  your  head  and  neck  beneath  the  cold  water,  regard- 
less of  consequences,  and  drive  an  apple  to  the  bottom,  the  feat 
cannot  be  accomplished.  The  girls  can  seldom  be  induced  to 
try  their  luck  in  this  game,  but  usually  content  themselves 
with  looking  on,  immensely  enjoying  the  frantic  endeavors  of 
the  boys  to  succeed  at  any  cost. 

The  Apple  and  Candle  Game 

is  another  favorite  sport  for  Halloween,  and  is  played  as  follows  : 
From  the  ceiling  is  suspended  a  stout  cord,  the  lower  end  of 
which  is  securely  tied  to  the  centre  of  a  stick  about  a  foot  and 
a  half  long.  On  one  end  of  the  stick  is  fastened  an  apple,  on 
the  other  a  lighted  candle.  The  string  is  set  in  motion,  swing- 
ing back  and  forth  like  a  pendulum,  and  the  contestants  for  the 
prize  stand  ready,  each  in  turn,  to  make  a  grab  for  the  apple, 
which  must  be  caught  in  the  teeth  before  it  can  be  won.  Fre- 
quently the  candle  is  caught  instead  of  the  apple,  which  mishap 
sends  the  spectators  off  into  shouts  of  merriment ;  but  although 
funny,  it  is  at  the  same  time  a  little  dangerous  to  catch  a  lighted 


All-Hallow-Eve.  197 

candle  in  one's  teeth,  and  we  would  suggest  that  a  bag  made  of 
cheese-cloth,  or  like  thin  material,  be  filled  with  flour  and  tied 
to  the  stick  in  place  of  the  candle.  When  the  person  essaying 
to  snatch  the  fruit  is  struck  in  the  face  with  the  bag,  and  is 
covered  with  flour  instead  of  the  glory  anticipated,  as  much 
mirth  will  result  as  can  possibly  arise  when  the  old  and  danger- 
ous practice  of  using  a  candle  is  clung  to. 

The  Ghostly  Fire 

should  not  be  lit  unless  all  of  the  party  have  strong  nerves,  for 
the  light  it  produces  is  rather  unearthly,  and  may  affect  some 
members  unpleasantly.  We,  at  our  Halloween  parties,  never 
omitted  this  rite,  however,  its  very  weirdness  proving  its  strong- 
est attraction.  Salt  and  alcohol  were  put  in  a  dish,  with  a  few 
raisins,  and  set  on  fire.  As  soon  as  the  flame  leaped  up  we 
clasped  hands  and  gayly  danced  around  the  table,  upon  which 
burned  our  mystic  fire.  The  laughing  eyes  and  lips  looked  in 
strange  contrast  to  the  pale  faces  of  their  owners,  from  which 
the  greenish  light  had  taken  every  vestige  of  color.  The  dance 
was  not  prolonged,  for  it  was  our  duty,  before  the  fire  was 
spent,  to  snatch  from  the  flames  the  raisins  we  had  put  in  the 
dish.  This  can  be  done,  if  one  is  careful,  without  as  much  as 
scorching  the  fingers,  and  I  never  knew  of  anyone  burning 
themselves  while  making  the  attempt. 

Trying  for  a  Raisin 

is  a  very  laughable  performance.  The  raisin,  which  must  be  a 
good-sized  one,  is  strung  on  and  pushed  exactly  to  the  middle 
of  a  soft  cotton  string  about  one  yard  long  Two  aspirants  for 
the  prize  then  take  each  an  end  of  the  string,  which  they  put  in 
their  mouths  and  commence  to  chew,  taking  it  up  as  fast  as 
they  can — the  raisin  falling  to  the  share  of  the  person  who  sue* 
ceeds  in  reaching  it  first. 


198  Autumn. 


A  Lighted  Candle 

is  again  used  in  a  game  which  is  exceedingly  amusing.  The 
candle  is  placed  upon  a  table  in  full  view  of  everyone  ;  then 
one  of  the  players  is  blindfolded,  turned  around  several  times, 
and  set  free  to  seek  for  the  candle  and  blow  out  the  light,  if 
possible. 

To  see  girls,  with  their  hands  clasped  behind  them,  going 
crazily  about  the  room,  blowing  at  anything  and  everything,  is 
very  ludicrous.  They  seldom  find  the  candle,  and  even  when 
the  table  is  reached  it  is  difficult  to  blow  in  such  a  direction  as 
to  extinguish  the  flame. 

The  Fairy's  Gifts 

are  suggested  as  a  new  and  original  ending  of  a  Halloween  frolic. 

The  Fairy  Godmother,  in  Mother  Hubbard  costume,  carries 
a  large  basket  under  her  cloak  or  shawl.  She  enters  the  room 
and  announces  that  she  has  a  certain  number  of  gifts  which  she 
proposes  to  distribute  among  the  company.  After  cautioning 
all  that  the  contents  must  be  kept  secret,  she  passes  to  each  per- 
son a  folded  paper.  On  one  is  written  "  Wealth"  on  another 
" Honor''  on  the  third  "Fame"  etc.,  and  some  of  the  papers 
are  left  blank. 

Those  whose  papers  contain  the  names  of  gifts  are  then 
blindfolded,  preparatory  to  receiving  their  behests. 

The  first  is. led  up  and  made  to  kneel  before  the  Fairy  God^ 
mother,  to  whom  she  repeats  these  words  : 

Most  gracious  Fairy,  the  gift  you  give 

I  shall  treasure  and  keep  as  long  as  I  live. 

Then  the  paper  containing  the  name  of  the  gift  is  handed  the 
Fairy,  who  reads  it  aloud  very  solemnly  :  "  Wealth" — and,  turn- 
ing to  her  basket,  she  takes  from  it  a  new  dust-pan,  to  which  is 
attached  a  ribbon-loop,  at  the  same  time  reciting  these  lines : 


A II- Hallow- Eve. 


199 


Your  choice  is  bad  when  you  intrust 
Your  happiness  where  moth  and  rust, 
In  time,  turn  all  your  wealth  to  dust. 

From  a  paper-bag  the  Fairy  pours  a  small  amount  of  dust 
over  the  kneeling  girl,  and  hangs  the  dust-pan  around  her  neck. 

The  next  person  who  has  drawn  a  prize  is  then  brought  for- 
ward and  the  performance  is  repeated,  only  altering  the  Fairy's 
speech.  For  "Honor  "  she  will  say: 

Your  honor  crowds  shall  loud  declare, 
But  in  your  heart,  no  crowd  is  there, 
You'll  find,  like  Fahtaff,  "  honor's  air." 

The  present  here  is  a  pair  of  bellows,  from  which  the  Fairy 
blows  a  blast  on  the  bowed  head  before  her  as  she  utters  the 
word  air.  The  bellows,  like  the  dust-pan,  are  hung  by  a  ribbon 
around  the  recipient's  neck. 

For  "Fame"  the  Fairy  gives  a  wreath  of  roses,  and  says,  as 
she  adjusts  the  crown  : 

When  Fame  doth  weave  a  laurel-wreath, 
He  weaves  this  subtle  charm  beneath ; 
"  For  every  evil  thought  that's  born 
The  laurel  grows  a  prickly  thorn  ; 
But  where  pure  thought  and  love  reposes, 
The  laurel-wreath's  a  wreath  of  roses." 


Buckeye  Portiere. 


CHAPTER  XVIII. 

NATURE'S  FALL  DECORA- 
TIONS, AND  HOW  TO 
USE  THEM. 

HESE  beautiful  decorations  are  free  to 
all  who  care  to  possess  them.  Every 
autumn  comes  to  us  laden  with  orna- 
ments which  no  skilled  workman  can  rival.  The 
graceful  golden-rod,  so  rich  in  color,  sways  and 
bends  over  the  low  stone  walls,  and  in  the  fields 
wild  flowers  of  all  kinds  grow  in  great  profusion. 
White,  spreading  wild  carrot,  yellow  and  white  dai- 
sies, light  and  dark  purple  asters,  and  sumach,  with 
its  varied  hues,  give  color  to  the  landscape  on  our 
bright  fall  days.  There  are  also  the  queer-shaped  pods  and 
feathery,  silky  seeds  peculiar  to  some  wild  plants  ;  among  others 
the  poor  "  vagabond  thistle,"  which  has  donned  its  robe  of 
glistening  white,  although  some  of  its  tribe  still  wear  their 
faded  purple  gowns.  The  latter  may  be  gathered  for  thistle-puffs, 
and  all  the  objects  mentioned  can  be  used  in  home  decorations. 
We  cannot  pass  by  unnoticed  the  brown  milk-weed  pods, 
for  within  the  shells,  full  well  we  know,  are  hidden  the  silvery, 
downy  seeds  which  make  such  pretty  milk-weed  balls.  Here, 
too,  we  notice  the  rich  coloring  of  bark  as  well  as  foliage,  the 
bright  scarlet  berries  contrasting  with  the  brown,  yellow,  and 
.green  leaves.  The  vine,  once  a  fresh  green,  is  now  changed  to 


202  Autumn. 


deep  crimson  ;  even  the  tiny  leaves  of  the  wild  strawberry  and 
some  grasses  have  touches  of  red  on  their  edges. 

How  the  rich  coloring  of  autumn  differs  from  the  delicate 
tints  of  spring,  when  the  promise  was  made  in  bud  and  leaf,, 
which  is  now  realized  in  the  bountiful  harvests  ! 

Having  such  a  wealth  to  glean  from,  we  scarcely  know  what 
to  take  first ;  but  for  decorations  to  last  only  a  few  hours  it  would 
be  difficult  to  imagine  anything  more  brilliantly  appropriate  than 

Fresh  Autumn  Wild  Flowers 

and  small  branches  of  brilliant  fall  leaves.  At  the  time  of  this- 
writing  wild  flowers  are  very  popular  ;  one  of  our  daily  papers 
records  a  wedding  which  recently  took  place,  where  the  display 
of  wild  flowers  was  beautiful  in  the  extreme.  Curtains  of  wood- 
ferns  were  caught  back  with  golden-rod,  and  a  bower  of  holly 
and  oak  was  fringed  with  clusters  of  scarlet  bitter-sweet  berries. 
Daisies  were  also  used  in  abundance,  while  the  beauty  of  the 
little  church  was  enhanced  by  the  masses  of  white  blossoms  and 
oak-branches. 

This  idea  can  be  used  advantageously  in  decorating  the 
house  for  evening  parties  and  receptions,  or  afternoon  teas  and 
coffees.  Have  the  flowers  and  foliage  in  masses,  the  effect  is 
much  better  ;  and  if  you  gather  very  large,  hardy  ferns  with  their 
roots  attached  they  will  make  exceedingly  graceful  decorations, 
and  placed  in  water  or  wet  sand  they  will  remain  fresh  for  days. 

When  golden-rod  is  gathered  in  its  prime  it  will  keep  nearly 
all  winter  without  fading.  Do  not  put  it  in  water  ;  all  that  is 
necessary  is  to  keep  it  dry.  The  rich  brown  cat-tails  should 
be  treated  in  the  same  manner  ;  these  must  be  gathered  at  their 
best,  before  they  are  too  ripe.  Bitter-sweet  berries  will  last  for 
months  and  retain  a  bright  red.  The  old-fashioned  honesty, 
with  its  white,  satiny  pods,  keeps  perfectly  for  any  length  of 


Nature  s  Fall  Decorations. 


203 


time.     The   wild    rose-bush    in   the   fall  is    decked  with   seed- 
coverings,   which  closely   resemble    scarlet  berries ;    these  will 

last  for  many  weeks.   The 

wild    clematis,    with    its 

festoons  of  hazy  fluff,  will 

keep  for  a  long  time,  and 

always   looks   well   when 

thrown  over  and  on  the 

top  corner  of  a  portiere 

and  allowed  to  hang  nat- 
urally down    a   little    on 

one  side,  or  arranged  in  a 

similar  manner  over  the 

tops  of  windows,  doors, 

pictures,   or  wherever   it 

will  look  graceful.     It  should 

hang  out  of  harm's  way,  as  it 

is  brittle  and  easily  broken  when  dry. 
For  entertainments,  the  more  elab- 
orate and  bountiful  the  decorations  of  fresh 

wild  flowers  the  more  beautiful  will  the  house 

appear  ;   but  for  every-day  life  during  the  cold 

weather,  when  we  have  only  the  dried  fall  plants, 
we  may  almost  make  up  for  the 
lack  of  fresh  flowers  by  using  judg- 
ment and  taste  in  arranging  the 
dried  ones.  Though  wild  flowers 


A  5Toung  Decorator. 


204  Autumn. 


are  beautiful,  you  must  use  taste  in  their  arrangement  and  not 
mingle  them  together  promiscuously,  but  make  a  judicious  se- 
lection, for  where  a  light  bunch  of  golden-rod  would  be  the 
very  thing  needed  to  give  color  to  a  particular  spot,  should 
the  dark  cat- tails  be  placed  there  the  effect  might  be  lost. 
There  are  places  where  some  high,  stiff  decoration  would  look 
best,  and  others  where  the  soft,  swaying  clematis  seems  to  be- 
long. As  with  everything  else,  so  with  our  decorations,  we 
must  seek  to  have  harmony. 

Who  has  not  admired  the  dark-brown,  glossy  buckeyes  and 
horse-chestnuts,  and  wondered  what  use  could  be  made  of  them  ? 
Children  love  to  gather  them  and  come  home  with  their  pock- 
ets and  baskets  full,  only  to  play  with  them  for  awhile,  and 
then  the  pretty  dark  balls,  each  marked  with  a  spot  of  light 
cream-color,  are  thrown  away  or  lost. 

Now,  the  next  time  the  buckeyes  are  collected  save  every 
one  and  make  a 

Buckeye  Portiere. 

The  writer  assures  you  that  you  will  find  it  much  easier  to  do 
this  than  she  did  to  make  a  picture  of  the  curtain,  for  it  is  diffi- 
cult with  a  pen-and-ink  drawing  to  give  an  idea  of  the  richness 
of  color  in  the  handsome  hangings  these  horse-chestnuts  make 
when  properly  fashioned  into  a  portiere  for  hall  or  doorway. 
Two  full  bushels  of  buckeyes  will  be  needed  to  make  a  curtain 
two  yards  and  a  half  long  and  one  yard  and  a  quarter  wide. 

Take  a  very  large,  long  needle  and  a  strong,  waxed  thread 
a  little  longer  than  you  desire  to  have  your  curtain,  make  a 
large  knot  in  the  end  of  the  thread,  and  commence  to  string 
your  buckeyes  in  the  same  way  as  stringing  beads  or  buttons. 
Continue  until  the  thread  in  the  needle  is  exhausted,  then  tie 
the  thread  in  a  large  knot  close  to  the  last  buckeye,  leaving  a 
length  of  three  inches  of  thread.  Make  your  other  strands  in 


Natures  Fall  Decorations.  205 

the  same  way.  When  all  are  finished,  fasten  as  many  small 
Screw-eyes  in  a  straight  line  on  a  curtain-pole,  or  a  rustic  pole 
if  desired,  as  there  are  strands  of  buckeyes,  and  tie  securely  to 
each  screw-eye  one  string  of  buckeyes.  When  all  are  fastened 


fig.  131 

Birch-Bark  Support  for  Pole. 

on,  your  portiere  is  finished  and  ready  to  be  hung.  This  is  easily 
accomplished  if  the  pole  used  is  a  regular  curtain-pole,  as  they 
always  come  with  brackets  ;  but  should  your  pole  be  rustic,  it 
must  be  supported  by  bands  of  strong  birch-bark,  or  leather,  as 
in  Fig.  131.  Our  illustration  shows  over  the  portiere  a 

Panel  of  Fall  Decorations. 

These  also  look  handsome  over  windows  and  doors,  and  you 
are  at  liberty  to  use  ornaments  of  all  styles,  for  the  panels  are 
placed  where  there  is  no  danger  of  anything  coming  in  contact 
with  them  to  break  off  the  decorations  or  mar  their  beauty. 
Any  kind  of  board  will  do  for  the  panel,  rough  or  smooth,  as 
you  like.  Paint  the  board  a  pure  white,  then  decide  on  your 
ornaments,  which  may  be  a  chestnut-branch  with  bursting  burs 
attached,  sprays  of  common  wayside  velvet-leaf  with  clusters 
of  pods  clinging  to  them,  a  piece  of  black-berry  vine  with  its 
twigs,  thorns,  and  dried  berries,  or  branches  of  buckeyes  with 
some  of  the  nuts  falling  from  their  horned  shells. 

Select  according  to  your  fancy,  and  gild  the  decorations 
chosen,  then  tack  them  on  the  panel.  It  is  best  to  place  the 
ornaments  on  the  board  while  the  paint  is  soft  and  wet,  for  then 
it  will  help  to  fasten  the  decoration  more  securely  ;  if  the  paint 
be  put  on  thick  where  the  ornaments  are  to  be  placed,  they  will 


206 


Autumn. 


lie  partially  embedded  in  the  paint,  and  when  it  dries  they  will 
appear  as  if  carved  from  the  wood.* 

A  white  and  gold  panel  made  in  this  way  is  very  pretty  and 
inexpensive. 

The  fall  decorations  also  enable  us  to  make  a  very  effective 

Louis  Quinze  Screen. 

For  this  it  is  necessary  to  have  two  small  wooden  hoops,  such 
as  children  roll  along  the  streets ;  fasten  these  together  with  a 

strong  piece  of  white  tape,  two  or 
three  inches  wide,  cut  the  end  of 
the  tape  bias,  tack  this  on  the  side 
of  one  of  the  hoops,  bring  it  around 
between  and  over  the  other  hoop,, 
and  tack  it  again,  repeat  the  opera- 
tion and  the  hinge  will  be  finished 
(Fig.  132).  If  you  look  at  the  hinge 
on  a  wooden  clothes-horse  you  will 
understand  how  to  make  one.  Fig. 
133  shows  the  hoops  fastened  togeth- 
er. Now  cut  two  pieces  of  coarse, 
strong  cotton  cloth,  a  little  larger 
around  than  the  hoops,  and  place 
one  of  the  pieces  smoothly  over  one 
of  the  hoops  ;  tack  it  down,  driving 
the  tacks  in  far  apart,  and  so  that 
they  can  be  easily  extracted  ;  if  the 

Hinge  for  Louis  Quinze  Screen.  .     , ,  -11  i  1 

cloth  wrinkles,  keep  changing  it  un- 
til the  surface  is  perfectly  even  ;  when  this  is  accomplished  care- 
fully tack  the  covering  securely  down,  keeping  it  smooth  and 


*  For  this  work  the  staple-tacks  used  for  tacking  down  matting  will  be 
found  very  convenient. 


Nature  s  Fall  Decorations.  207 

without  wrinkles.  In  like  manner  tack  the  remaining  piece  of 
cloth  on  the  other  hoop.  Next  get  four  broomsticks  and  cut  a 
notch  on  each  one,  at  exactly  the  same  distance  from  the  top,  for 
the  hoops  to  fit  in.  Then  measure  where  you  wish  the  hoops  to 
be  placed  and  cut  another  notch  on  each  stick  a  certain  distance 
from  the  bottom  ;  all  the  sticks  must  be  of  the  same  length  and 
have  the  notches  cut  in  the  same  places,  so  each  one  may  be  a 
duplicate  of  the  others.  Mark  the  hoops  where  the  sticks  are 
to  fit,  and  then  fasten  them  firmly  on  with  small  screws.  Make 


Hoops  Fastened  Together  for  Louis  Quinze  Screen. 

the  screen  strong,  so  that  there  will  not  be  any  danger  of  its 
coming  apart.  Give  each  cloth  a  sizing  of  common  flour-paste 
on  both  sides,  then  scrape  off  all  the  paste  with  a  knife  ;  in  this 
way  the  cloth  will  be  starched  and  prepared  to  receive  the  paint. 
When  the  screen  is  thoroughly  dry,  sew  a  branch  across  one  of 
the  disks  and  some  waxed  fall  leaves  in  the  places  where  they 
would  naturally  lie  on  the  branch  ;  when  these  are  securely  at- 
tached, decorate  the  other  disk  with  something  different ;  acorns 
can  be  used  if  cut  in  halves  ;  but  never  place  any  ornaments  on 
the  screen  which  will  not  lie  flat,  for  if  they  stand  out  they  wilJ 


208 


Autumn. 


be  broken  off  or  injured  by  persons  passing  and  brushing  against 
them.  Now  give  the  screen  a  coat  of  white  paint  all  over,  includ- 
ing the  branch  and  leaves,  but  do  not  paint  the  hinge.  Set  the 
screen  away  until  it  is  perfectly  dry,  then  gild  the  branches  and 
leaves,  connecting  the  latter  with  the  twigs  by  painting  a  line  of 


Louis  Quinze  Screen. 

gold  between  the  two.  Gild  a  ring  around  each  pole  near  the 
top  and  another  near  the  bottom,  and  cover  the  edges  of  the 
hoops  where  the  cloth  has  been  fastened  on  by  tacking  white 
gimp  around  each  one,  using  fancy  brass-headed  tacks  and 
placing  them  at  equal  distances  apart ;  this  completes  the  orna- 
mental screen. 


Nature  s  Pall  Decorations. 


209 


Should  you  de- 
sire it,  the  screen 
can  be  painted 
black  or  any 
other  color,  and 
the  decorations 
bronzed  instead 
of  gilded.  The 
bronzes  come  in 
different  shades, 
and  the  color  of 
real  bronze  can 
be  easily  copied. 
As  an  orna- 
ment for  the  din- 
ing-room 

A     Panel     of 
Field-Corn 

is  very  decorative 
and  easy  to  make. 
When  the  corn 
ripens,  select 
some  nice,  firm, 
golden  ears,  with 
husks  and  with- 
out ;  then  break 
off  pieces  of  corn- 
stalk and  group 
them  together,  as 
in  the  illustration; 
cover  a  board  of 


2io  Autumn. 


requisite  size  with  a  piece  of  old  black  velvet  ;  if  you  have  no 
velvet,  paint  the  board  black,  and  after  tying  the  corn  firmly 
together,  tack  it  securely  on  the  board,  and  the  dark  back- 
ground will  bring  out  the  many  yellow  tints  of  the  decoration 
beautifully  ;  fasten  two  screw-eyes  in  the  back  of  the  board,  by 
which  to  attach  the  wire,  and  the  panel  will  be  ready  to  hang 
on  the  wall. 

The  corn  can  also  be  fastened  to  a  rough  board  of  the  de- 
sired size  and  the  panel  and  decoration  bronzed,  using  green 
bronze  for  the  background  and  portions  of  the  group,  while  all 
the  edges  and  prominent  points  should  be  of  copper-colored 
bronze. 

Early  in  November  the  many  varieties  of  gourds  ripen,  and 
their  odd  and  fantastic  forms  seem  like  nature's  suggestions  of 
the  unique  in  ornamentation.  So  suggestive  are  they  that  it 
needs  but  little  originality  to  make  them  into  many  useful  and 
beautiful  articles.  As  a  decoration  for  looping  over  the  poles 
of  portieres,  and  for  holding  back  draperies,  these 

Ornamental   Gourds 

are  convenient.  They  must  first  be  allowed  to  become  perfectly 
dry  ;  then  they  can  be  made  into  tasselled  festoons.  Take  six 
mock-oranges,  which  imitate  so  closely  our  real  oranges  in 
color,  size,  and  form,  and  cut  a  hole  about  the  size  of  a  silver 
dime  in  the  top  and  bottom  of  each  one  ;  then  shake  out  the 
seeds.  To  make  the  openings  in  the  gourds,  first  bore  a  small 
hole  with  the  point  of  a  large  needle,  then  twist  the  needle 
around  and  around  until  it  will  easily  pass  through.  Next, 
carefully  enlarge  the  opening  with  a  sharp  penknife  until  it  is 
of  the  stated  size.  Make  a  rope  two  yards  and  a  half  long  of 
Persian  colored  wools  or  worsted  ;  on  the  end  fasten  a  slender 
tassel,  six  or  seven  inches  long,  made  of  the  same  worsted  ;  now 


Natures  Fall  Decorations.  2 1 1 

string  one  of  the  bright  orange-gourds  on  the  rope  down  against 
the  tassel,  which  should  be  large  enough  to  prevent  the  gourd 
from  slipping  off;  make  another  similar  tassel,  and  attach  it  to 
the  rope  about  twelve  inches  from  the  first  one,  and  thread  an- 
other gourd  on  the  rope,  bringing  it  down  against  the  second 
tassel  ;  proceed  in  like  manner  with  the  remaining  gourds, 
making  a  tassel  for  each  one,  and  you  will  have  a  decoration 
unlike  any  to  be  found  elsewhere. 

We  are  all  more  or  less  familiar  with  the 

Gourd-Dippers 

so  common  in  the  South,  where,  in  olden  times,  scarcely  a  spring 
bubbled  in  a  rustic  nook  that  was  not  supplied  with  its  drinking- 
gourd.  These  dippers  are  made  by  sawing  an  opening  in  the 
large  part  of  the  gourd,  scraping  out  the  contents,  and  making 
the  inside  as  smooth  as  possible  with  sand-paper.  They  need 
no  ornamentation. 

The  kind  of  gourds  resembling  flattened  globes  can  be  made 
into  graceful  and  unique 

Bowls. 

The  gourds  must  be  sawed  into  two  parts,  with  the  inside  of 
each  sand-papered,  and  flowers  painted,  with  oil-colors,  on  the 
outside.  After  they  have  thoroughly  dried,  give  a  coat  of  white 
varnish  to  both  the  inside  and  outside.  A  pretty 

Bonbon-Box 

can  be  fashioned  of  one  of  these  gourds.  Saw  off  the  top,  which 
will  serve  as  a  lid.  and  fasten  it  to  the  bowl  with  narrow  ribbons 
tied  through  holes  at  the  back  of  each  ;  line  both  lid  and  box 
with  satin  by  gluing  it  along  the  edges  with  stiff  glue  put  on 


212 


Autumn. 


sparingly,  and  cover  the  raw  edge  of  the  satin  with  chenille  ; 
this  is  also  put  on  with  a  little  glue.     Do  not  allow  the  chenille 
to  interfere  with  the  closing  of  the  box,  but  place  it  along  the 
inside  edge  of  the  box  and  lid. 
Another  form  is  the 

Bottle-Gourd. 

Ornament  this  with  ivy-leaves  painted  as  if  twined  around 
bowl  and  neck,  and  when  the  paint  is  dry  varnish  the  gourd 
all  over ;  if  you  wish  it  for  use  as  well  as  decoration,  saw  off 
the  top  about  two  or  three  inches  deep,  shake  out  the  seeds, 
then  fit  a  cork  in  the  piece  cut  off,  and  so  glue  it  in  that  the 
cork  may  extend  an  inch  downward  to  fit  in  the  bottle. 

The  large  egg-shaped  gourds  look  well  as 

Vases. 

Select  a  deep-colored  gourd,  saw  off  the  top  and  scrape  out 
the  inside  ;  then  varnish  the  vase  and  mount  it  on  feet  of 


Wire  Twisted  for  Feet  of  Gourd- Vase. 


Finished  Wire  Feet  for  Gourd- Vase. 


twisted  wire,  made  according  to  Fig.  134  ;  bend  down  the  feet, 
as  in  Fig.  135,  when  the  wire  will  be  formed  into  Fig.  136.     To 


Nature  s  Fall  Decorations. 


213 


fasten  this  on  the  vase,  first  bore  holes  in  the  bottom  of  the 
gourd,  then  sew  the  feet  firmly  on,  passing  the  needle  through 


Ornamental  and  Dstful  Gourds. 


the  holes  previously  made  and  bending  the  wire  a  little  to  fit  to 
the  gourd.     Gild  the  wire  feet,  and  your  vase  is  finished.     An- 


214  Autumn. 


other  way  is  to  save  the  top  sawed  off,  fasten  an  ornament  of 
twisted  wire  on  the  top  of  it,  and  then,  after  making  the  vase 
as  the  one  just  described,  add  bands  of  gilded  cardboard  made 
to  fit  the  gourd,  fastening  them  to  the  vase  with  glue.  Handles 
can  also  be  fashioned  of  cardboard  and  sewed  to  the  upper 
band  before  it  is  glued  to  the  vase,  as  in  the  illustration. 

There  are  many  other  ways  of  utilizing  gourds,  but  we  will 
leave  it  to  your  ingenuity  to  think  up  new  and  pretty  conceits. 

Pine-cones,  large  and  small,  acorns,  and  balls  from  the  sweet- 
gum  tree,  can  be  used  as 

Small    Decorations. 

Never  try  to  fasten  them  by  the  natural  stems,  for  these 
will  soon  break  off,  but  place  in  each  one  a  small  screw-eye, 
and  when  tied  in  groups  they  form  ornaments  for  waste- 
baskets  and  fancy  baskets  of  all  kinds.  We  have  seen  chan- 
deliers with  gilded  cones  hanging  from  the  different  points, 
and  being  the  identical  color  of  the  chandelier,  they  seemed 
of  the  same  metal,  and  added  novelty  and  grace  to  its  appear- 
ance. 

There  are  some  varieties  of  the  tree-fungi  which  make  dark, 
rich-colored 

Brackets. 

Use  heavy  cardboard  or  thin  board  as  a  covering  for  the 
back  ;  have  this  fit  the  fungus  perfectly,  and  fasten  it  securely 
in  position  with  very  stiff  glue  or  nails.  Paint  the  back  the 
same  color  as  the  fungus,  and  on  either  side  of  the  upper  edge 
place  screw-eyes  by  which  to  fasten  up  the  bracket. 

Many  of  the  curiously  formed  galls  and  oak-apples  to  be 
found  on  different  trees  can  also  be  employed  as  ornaments. 

Nothing  can  be  finer  than  our  brilliant  autumn  season,  which 


Natures  Fall  Decorations. 


215 


is  said  to  be  more  beautiful  in  this  than  in  other  countries,  with 
its  crisp  mornings  and  bright  sunny  afternoons. 

When  the  weather  is  too  lovely  to  remain  in-doors,  and  all 
nature  invites  us  out,  then  is  the  time  to  gather  our  fall  decora- 
tions. 


The  Little  Brown  Squirrel. 


CHAPTER   XIX. 
NUTTING-PARTIES. 

FF  they  go  with  bright,  laughing  eyes  and 
glowing  cheeks,  each  one  carrying 
a  light  little  basket  or  fancy  bag 
slung  carelessly  on  her  arm.  The 
girls  are  full  of  life  and  spirits  as 
they  walk  briskly  along  toward 
the  woods  in  the  delightful  fall 
weather,  talking  and  laughing  in 
a  happy,  thoughtless  fashion,  now 
telling  where  the  best  nuts  are  to 
be  found,  the  shortest  route  to  take,  or  where  the  prettiest  walks 
lead,  and  again  lingering  or  stopping  to  admire  the  many  won- 
derful beauties  of  autumn.  Leaving  the  road  they  enter  the 
woods,  where  the  dry  leaves  rustle  pleasantly  beneath  their  feet, 
and  in  some  places  the  gold  and  brown  leaves  through  which 
they  walk  lie  ankle-deep. 

All  this  is  fully  enjoyed  by  the  party  as  they  proceed  on 
their  way  discussing  the  best  place  for  lunch,  which  considera- 
tion is  quite  important,  as  it  is  necessary,  if  possible,  to  be  near 
a  clear,  cool  spring  ;  otherwise  the  water  must  be  transported. 
Arriving  at  the  selected  spot  about  noon,  all  bring  forward 
their  baskets  and  bags  to  contribute  the  contents  to  their 
"  nutting-dinner."  Soon  the  white  cloth  is  laid  and  the  tempt- 
ing feast  spread,  when  the  hungry  but  merry  maidens  gather 


218  Autumn. 


around  to  relish  their  repast  in  the  forest,  where,  all  about,  are 
seen  sure  signs  of  coming  winter. 

The  airy  dining-hall  is  carpeted  with  the  softest  moss,  and  the 
gorgeous  coloring  of  the  surrounding  foliage  is  far  more  beau- 
tiful than  the  most  costly  tapestry,  while  the  sky  forming  the 
roof  is  of  the  serenest  blue. 

Now  and  then  the  sound  of  falling  nuts  is  heard  as  they  drop 
from  the  trees.  This  is  music  in  the  ears  of  the  girls,  and  they 
hurry  through  their  lunch,  collect  the  empty  baskets,  and  are 
soon  busy  gathering  the  glossy  brown  chestnuts,  which  are 
thrashed  down  from  the  branches  by  some  of  the  party,  who 
use  long  poles  for  the  purpose.  Down  comes  the  shower  of  nuts 
and  burs,  and  away  the  party  scamper  to  patiently  wait  until  it 
is  over,  as  the  prickly  burs  are  things  to  be  avoided.  Some  wise 
girls  have  brought  tweezers  to  use  in  pulling  open  these  thorny 
coverings.  Others  have  their  hands  well  protected  by  heavy 
gloves  which  cannot  easily  be  penetrated  with  the  bristling 
spikes. 

It  does  not  take  long  to  fill  their  bags,  and  the  one  who  first 
succeeds  in  the  feat  receives  the  title  of  ' '  Little  Brown  Squirrel." 
Then  all  the  others,  for  the  rest  of  the  day,  obey  her  wishes. 
Nor  is  this  difficult,  for  their  Little  Brown  Squirrel  is  blithe 
and  gay,  generous  and  kind,  and  does  all  in  her  power  to 
render  her  subjects  happy. 

As  they  turn  their  faces  homeward  the  girls  plan  for  another 
nutting-party  to  come  offsoon,  for  they  wish  to  make  the  most  of 
the  glorious  Indian  summer,  which  belongs,  we  claim,  exclusively 
to  our  country,  and  which  may  last  a  week  or  only  a  few  days. 

The  chestnuts  are  brought  home,  where  in  the  evening  some 
are  eaten  raw,  others  have  the  shells  slit  and  are  then  roasted 
or  boiled,  making  a  sort  of  chestnut  festival,  as  in  the  North  of 
Italy,  only  of  course  on  a  very  much  smaller  scale,  for  there  the 
peasants  gather  chestnuts  all  day  long  and  have  a  merry-making 


Nutting- Parties. 


219 


the  sun  goes  down.  This  har- 
vest lasts  over  three  weeks  and  is  a 
very  important  one  to  the  dark-eyed 
Italians,  who  dry  the  nuts  and  grind 
them  to  flour,  which  is  used  for  bread 
and  cakes  during  the  barren  season. 
The  harvest  in  the  Apennines  is  quite 
an  event,  as  the  trees  are  plentiful, 
the  fruit  is  good,  and  the  people  glad- 
ly celebrate  the  season. 

Our  thin,  white-shelled  shag-bark 
hickory-nut  is  peculiarly  American, 
.and  many  a  nutting-party  have  found 
its  delicate  and  agreeable  flavor  very 
welcome  when,  gathered  around  a 
large  rock,  they  crack  a  few  to  sam- 
ple their  fruit  before  returning  home. 


Blossom  and  Fruit  of  the  Chestnut-Tree. 


These  nuts  are  only  cooked  by  covering  the  kernels  with  hot 
candy,  and  thus  prepared,  they  make  a  delicious  sweetmeat. 
When  cracking  hickory-nuts,  hold  each  nut  firmly  by  the 


22O  Autumn. 


flat  sides,  bringing  uppermost  one  of  the  narrow  sides  ;  strike 
this  and  the  nut  will  open  so  that  the  halves  fall  out,  or  may 
be  easily  extracted,  and  occasionally  the  kernels  will  come  out 
whole.  We  have  seen  quaint  little  figures,  with  the  heads 
made  of  hickory-nuts,  the  pointed  end  forming  the  nose,  and 
the  eyes  and  mouth  marked  with  ink,  giving  a  comical  ex- 
pression to  the  peaked  face. 

The  neat  little  three-cornered  beech-nut  is  easy  and  pleasant 
to  gather,  making  a  desirable  change  for  the  "  nutters  "  after 
going  for  other  kinds,  and  the  trees  with  their  beautiful  foliage 
render  the  scene  very  attractive.  But  not  more  so  than  do  the 
lofty  and  stately  walnut-trees  with  their  rich,  brown  fruit  en- 
cased in  such  rough  shells,  whose  outside  covering  is  so  juicy 
that,  unless  we  are  very  cautious,  it  will  stain  our  hands  its  own 
dark  color.  The  black-walnut  tree  (J.  nigra)  is  indigenous  to 
the  United  States,  and  we  are  informed  that  a  celebrated  speci- 
men is  still  standing  at  Roslyn,  L.  I.,  where  the  seed  was 
planted  in  1713.  The  tree  measures  twenty-five  feet  in  circum- 
ference at  three  feet  from  the  ground. 

Butter-nuts,  so  significant  during  our  civil  war,  also  belong  to 
America  ;  the  meat,  though  quite  oily,  is  sweet  and  agreeable. 

Butter-nuts  will  repay  anyone  for  gathering  them,  though, 
like  the  walnut,  the  outer  husk  is  apt  to  stain  the  fingers ;  but 
this  may  be  avoided  by  wearing  gloves  while  handling  the 
fruit.  The  cross-sections  of  the  shells,  when  properly  polished, 
make  pretty  ornaments. 

Although  we  are  all  fond  of  the  round  little  hazel-nut,  they  do 
not  seem  to  be  as  plentiful  as  could  be  wished,  and  it  is  seldom 
we  have  the  pleasure  of  going  hazel-nutting,  yet  when  the  op- 
portunity occurs,  it  is  rare  sport  and  an  event  to  be  talked  of 
afterward. 

Nuts  are  to  be  found  in  all  portions  of  the  country,  and  the 
varieties  depend  upon  the  section  in  which  you  live. 


Nittting- Parties.  221 

Rules  for  Nutting-Parties. 

1.  In  selecting  the  members  of  a  nutting-party  be  careful 
to  choose  only  those  on  whom  you  can  safely  depend  for  cheer- 
fulness, kindly 

feeling,  and  a 
willingness  on 
their    part    to 
do  all  in  their 
power   to    as- 
sist, should  oc- 
casion arise,  in  letting 
down  the  bars  of  a  fence, 
going  for  water,  or  any- 
thing which  might  happen  to  re- 
quire their  services. 

2.  Decide  by  majority  any  case  of 
controversy  in  regard  to  destination,  the  best 
place   and   way   of  crossing  a  brook,   which 
route  to  take,  or  in  fact  any  ques- 
tion   concerning    the    comfort    and 
pleasure    of    the    party,    until    the 
"Little  Brown  Squirrel"  wins  her 

title.      Then    she    rules 
absolutely  and  settles  all 
questions      accord- 
ing   to    her   best 
judgment,    giving 
council  and  friend- 
ly advice  to 

th°Se     Wh°  Pea-Nut  Vine  and  Fr.it. 

ask  it.     All 

differences   being   referred   to  her,  the   decision   is   considered 


222  Autumn. 


final,  and  the  party  must  obey  when  their  Little  Brown  Squir* 
rel  directs. 

3.  The  one  who  gathers  the  greatest  quantity  of  nuts  in  a 
given   time   wins,  and   receives   the   above   much-desired  title. 
The  standard  of  measure  being  previously  decided  upon  by  the 
party,  the  time  may  be  either  long  or  short,  as  desired. 

4.  The  badge  given  to  the  successful  competitor  may  consist 
of  fall  leaves  or  nuts  tied  with  a  brown  ribbon.     This  she  keeps 
in  remembrance  of  the  delightful  day  spent  nutting  in  the  woods 
when  she  was  a  Little  Brown  Squirrel. 

Select,  if  possible,  a  day  in  Indian  summer  for  your  nutting- 
party,  and  it  is  well  to  wear  a  gown  that  will  not  easily  tear, 
catch  the  dust,  or  spot — not  that  these  accidents  are  always  to 
be  met  with  on  such  excursions,  but  they  might  happen,  and 
we  must  be  on  the  safe  side,  so  that  no  thought  or  anxiety 
need  be  given  to  the  clothing. 

If  your  party  contemplates  a  series  of  nutting-picnics,  pro- 
pose that  they  shall  go  for  different  varieties  each  time.  This 
will  add  novelty  and  zest  to  the  excursions  ;  and  should  the 
distance  in  some  cases  be  too  great  for  a  walk,  secure  a  vehicle 
with  a  good  reliable  driver,  and  the  ride  will  be  particularly 
enjoyed.  This  mode  of  travelling  procures  another  change  in 
the  programme,  which  should  be  as  varied  as  you  can  make  it. 
Let  the  plates  for  your  dinner  be  of  wood  or  paper,  to  avoid 
the  necessity  of  carrying  them  home.  A  table-cloth  made  of 
large  sheets  of  white  paper  is  a  good  substitute  for  damask,  and 
after  doing  service  the  paper  may  be  thrown  away,  leaving 
your  baskets  entirely  empty  to  be  filled  with  nuts. 

There  grows  a  nut,  highly  prized,  that  is  never  gathered  by 
nutting-parties.  Nor  could  they  see  it  if  they  examined  every 
tree  throughout  the  country.  Yet  it  flourishes  in  this  climate, 
and  may  be  seen  any  day  at  the  fruit-stores  and  corner-stands. 
The  shells  of  these  furnish  odd  fancies  for  little  trifles  made  by 


Nutting- Parties. 


223 


girlish  fingers.  Cut  in  the  shape  of  slippers  and  glued  to  a 
card,  they  seem  suitable  for  a  wood-nymph,  and  the  card  is 
used  as  a  birthday  or  menu  card.  Strung  together  with  nee- 
dle and  thread,  and  dressed  in  costume  with  black  thread  for 
hair,  they  make  quite  a  good-looking  Japanese. 

Glued  on  a  twig  and  marked  with  ink  in  representation  of 
the  birds,  they  look  not  unlike  owls  perched  on  a  limb.  When 
divided  in  halves  the  shells  are  transformed  into  tiny  boats  with 
tissue-paper  sails.  This  nut  boasts  of  four  names:  gouber,  pin- 
dar,  ground-nut,  and  the  familiar  name  of  pea-nut. 


CHAPTER   XX. 
HOW  TO  MAKE  A  TELEPHONE. 

ELLO  !  Hello  !  What  is  it  you  say  ?  You  can 
really  make  a  telephone  ?  What  fun  !  How  far 
will  it  work  ?  You  think  it  can  be  heard  a  long 
distance  ?  Very  good.  Could  we  manage  to 
construct  such  a  one  ?  How,  pray  tell  us  ? 

The  answer  which  came  back  over  the  line 
we  give  in  a  more  concise  form,  as  follows  : 
The  best  way  to  make  a  simple  telephone  is  to  procure  two 
round,  medium-sized  tin  baking-powder  boxes,  and  remove  the 
bottoms  with  a  pair  of  pinchers ;  then  soak  two  pieces  of 
Whatman's  drawing-paper,  or  any  other  strong  paper,  in  a  ba- 
sin of  water  for  a  few  moments,  and  when  thoroughly  wet  take 
them  out  and  place  one  smoothly  over  the  end  of  each  box. 
Fasten  these  down  by  winding  a  waxed  cotton  twine  securely 
over  the  paper  and  box,  and  tying  it  tightly  (Fig.  137).  This 
done,  allow  the  drums  to  become  wholly  dry,  when  they  should 
be  firm,  even,  and  without  wrinkles.  Next  cut  away  that  por- 
tion of  the  paper  which  stands  out,  frill-like,  beyond  the  string, 
and  paste  a  narrow  strip  of  paper  around  over  the  twine  (Fig. 
138).  Wax  a  piece  of  string  of  the  desired  length,  and  with  a 
large  needle  or  pin  carefully  punch  a  hole  in  the  centre  of  each 
drum  ;  thread  one  end  of  the  waxed  string  through  one  of  the 
holes  and  make  a  large  knot  in  the  end,  then  cautiously  pull 
the  string  until  the  knot  rests  on  the  inside  surface  of  the  paper. 


How  to  Make  a   Telephone. 


225 


Connect  the  other  box  to  the  string  in  like  manner,  so  that  the 
twine  will  have  a  box  fastened  on  each  end. 

The  telephone  is  now  ready  for  use  ;  and  if  the  distance  is 
short,  the  line  may  be  stretched  taut  from 

point  to  point.     But  should 

the  space  be  great,  supports 

will    be    needed    and    loops 

must  be  made  of  the  twine 

and  fastened  at  intervals  on 

trees,  corners  of  the  houses, 

or  any  available  points,  with 

the   connecting  cord   passed 

through    these    loops    (Fig. 

139),  which  act  as  supports. 
Keep    the   course    of  the   waxed    string   as 
straight  as   possible,  and,  as   far  as  practi- 
cable, avoid  sharp  angles.     This  style  of  telephone  we  know, 
from  personal  experience,  works  perfectly  at  the  distance  of 


fifty  yards,  and   doubtless   it  will  do  as  well  when  the  line  is 
stretched   much  farther.      Be  particular,   in  selecting   the  tin 


226 


baking-powder  boxes,  to  have  them  round  and  even  ;  if  they 
are  old  and  battered  the  experiment  may  not  prove  satisfactory. 

We  find  the  telephone  very 
useful  and  convenient,  be- 
sides affording  any  amount 
of  amusement  and  fun  ;  with 
its  aid  we  converse  w-'h  ac- 
quaintances, even  though 
they  be  at  a  distance.  The 
friendly  little  instrument  car- 
ries the  voice  all  along  the 
slender  line  to  the  very  ears 
of  our  best  friend,  and  we 
can  chat  away  as  freely  and 
almost  as  easily  as  if  side  by 
side.  What  a  comfort  to  be 
able,  when  seated  in  your 
own  room,  to  listen  to  the 
voice  of  some  companion, 
living  perhaps  blocks  away, 
and  it  is  such  a  pleasure,  too,  to  have  questions  answered 
immediately,  which  is  impossible  in  communications  made  by 
letter.  Nor  is  this  a  pleasure  to  be  enjoyed  at  rare  intervals, 
for  as  long  as  the  telephone  lasts  it  can  be  used  at  any  time 
for  a  short  or  long  talk,  as  one  may  feel  inclined.  The  con- 
sultations, the  plans,  the  sport,  and  merriment  to  be  had  with 
the  telephone  can  scarcely  be  appreciated  by  one  who  is  not 
the  happy  possessor  of  such  an  instrument. 

When  the  weather  will  not  permit  of  a  walk  or  a  visit,  the 
telephone  brings  us,  if  not  face  to  face,  at  least  within  speak- 
ing distance  of  those  to  whom  we  desire  to  talk. 

There  are  many  other  easy  methods  of  making  telephones. 
They  can  be  manufactured  as  described  without  waxing  the 


Listening. 


How  to  Make  a   Telephone. 


227 


string,  or  the  boxes  may  be  used  unaltered,  in  which  case  the 
tin  bottoms  serve  as  drums,  and  the  holes  for  the  string  are 
made  in  the  centre  of  each  by  driving  a  small  tack  through. 
With  these  instruments  the  voice  cannot  be  sent  a  great  dis- 
tance, but  when  only  a  short  line  is  needed  they  succeed  very 
well. 

More  complicated  telephones  are  made  with  the  drums  of 
bladder  and  the  line  of  soft,  flexible  wire.  Though  good  and 
serviceable,  they  are  more 
difficult  to  make  and  require 
more  time  and  labor. 

The  two  beef-bladders 
used  for  such  a  telephone 
must  first  be  blown  up,  tied, 
and  left  about  thirty  hours, 
or  until  they  are  stretched, 
but  not  dried.  When  in 
proper  condition,  cut  off  the 
necks  and  portion  of  the 
ends,  then  soak  them  in 
warm  water,  and  they  will 
become  very  pliable  and 
light  in  color.  Having  pre- 
viously prepared  two  square 
pieces  of  board  by  very  care- 
fully cutting  out  a  perfect 
circle  in  the  centre  of  each, 
about  as  large  as  a  medium- 
sized  pie-pan  or  a  tea-plate, 

place  the  bladders  smoothly  Speaking 

but   not    tightly    over   the 

openings,  allowing  the  outside  of  the  bladder  to  come  on  the 
bottom,  and  fasten  it  all  around  the  circle,  a  little  distance 


228 


Autumn. 


from  the  edge,  with  tacks  so  driven  in  that  they  may  be  easily 
removed. 

Try  the  drums  with  your  finger  ;  if  they  stretch  evenly  they 
are  correct,  if  they  wrinkle,  change  them  until  they  stretch  per- 
fectly smooth.  Then  tack  a  piece  of  firm  tape  securely  around 
the  edge  of  the  circle,  and  cut  off  the  bladder  reaching  beyond 
the  tape.  Next  fasten  four  feet  of  soft,  flexible  wire  to  a  large- 
sized  gutta-percha  button  by  threading  it  through  the  two  op- 
posite holes  in  the  centre  of  the  button  ;  pass  the  other  end  of 
the  wire  through  the  middle  of  the  bladder,  bringing  the  button 
flat  against  its  surface. 

After  attaching  a  weight  of  about  seven  pounds  to  the  end 
of  the  wire,  place  the  drum  in  the  sun  until  perfectly  dry.  Pro- 
ceed with  the  other  in  the  same  manner,  and  when  both  are 
well  dried,  fasten  one  on  each  end  of  the  line  and  attach  the 
drum-wires  to  the  principal  wire  by  loops  ;  then  stretch  it  firm 
and  tight.  This  telephone  will  also  need  loops  for  supports, 
which  should  be  of  wire.  When  the  instrument  is  carefully 
and  properly  made  it  will  carry  the  voice  three  or  four  miles  or 
more,  giving  every  word  and  tone  distinctly  and  clearly. 


CHAPTER   XXI. 


HOW   TO    DRAW.* 

OULD  you  like  to  learn  to  draw,  to  sketch 
from    nature  ?      Don't   you    think   that    it 
would  be  delightful  to  be  able  to  take  out 
your  pencils  and  paper  and  copy  some  scene 
you  want  to  remember,  or  produce  a  likeness 
of  any   bird    or   animal    which    strikes   your 
fancy  ? 

Many  will  say,  "  I'd  like  it  very  well,  but 
I  can't  draw." 

You  can  write,  can  hold  a  pencil,  and 
trace  lines  upon  the  paper  ;  and  if  you  can 
do  this,  you  can  draw  a  little.  A  girl 
who  can  learn  anything  can  learn  to  draw 
if  she  will  give  the  same  attention  to  it 
that  she  gives  to  other  things. 

Now    we  are  not  going  to  talk  about 
copying  pictures  which  someone  else  has 
already  drawn,  for  there  is  not  much  sat- 
isfaction   in    making    imitations   of  other  ?&•'•  0 
people's  work  ;  it  is  much  more  gratifying  to  make  the  original 
drawings  ourselves  ;  but  to  do  this  we  need  some  direction. 

*  The  material  for  this  chapter  is  from  an  article  written  by  Professor 
Frank  Beard  for  Harper's  Young  People.  By  permission  of  Harper  & 
Brothers. 


230 


Autumn. 


The  reason  it  is  easier 
to  copy  a  picture  than  to  draw 
the  real  object  is  because  the 
lines  to  be  copied  are  all  laid 
out  on  the  flat  surface  of  the 
picture  ;  but  to  draw  the  object 
we  must  find  out  where  to  trace 
the  lines  for  ourselves. 

For  instance,  suppose  we  are 
to  draw  a  flower-pot  and  plant. 
If  we  have  the  picture  before 
us,  we  can  readily  see  where  all 

the  lines  are  placed  upon  the  paper,  but  in  viewing  a  real  plant 
and  pot  we  are  apt  to  become  confused  in  trying  to  discover  the 
directions  and  proportions  of  the  lines. 


How  to  Draw. 


231 


Therefore  we  must  learn  to  see  things  as  they  appear,  not  as 
they  really  are.  This  may  seem  strange  to  you,  because  one 
is  apt  to  think  that  a  thing  must  appear  as  it  is ;  but  let  us  look 
into  the  matter. 

We  will  take  a  square  box  (Fig.  140).  Now,  we  know  that 
all  the  sides  are  the  same  size,  that  the  top  is  as  large  as  the 
side,  and  that  one  side  is  as  large  as  an- 
other ;  but  if  you  try  to  draw  it  so,  you  will 
find  it  impossible,  because,  although  you 
know  that  the  top  and  sides  are  the  same 
size  as  the  front,  they  do  not  look  so,  and 
you  draw  things  as  they  look,  not  as  they 
really  are. 

What  would  our  cube  look  like  if  we 
tried  to  make  the  sides  K  and  H  just  like 
the  side  I?  Why,  like  Fig.  141.  Don't 
you  see  that  would  be  no  box  at  all  ? 

Take  another  example.  We  all  know 
that  a  man's  leg  is  longer  than  his  arm,  but 
it  doesn't  always  appear  so.  Measure  the 
arms  and  legs  of  Fig.  142,  and  you  will  see 
by  actual  measurement  the  arms  are  longer 
than  the  legs,  and  yet  it  looks  right,  be- 
cause the  legs  are  projected  toward  you  ; 
in  other  words,  the  legs  are  fore  shortened.  fig.  148 

The  great  secret  of  drawing  from  nature  is  to  train  the  eye 
to  see  a  real  object  just  like  a  picture. 

Now  let  us  return  to  our  flower-pot  again.  We  will  suppose 
we  are  drawing  from  a  real  flower-pot  and  plant.  We  determine 
how  large  we  will  make  our  sketch,  and  begin  operations  by 
drawing  a  vertical  line  (a  straight  upright  line).  Along  this  line 
we  will  mark  out  the  proportions  of  the  plant  and  pot,  as  in 
Fig.  143- 


232 


Autumn. 


We  may  easily  discover  that  the  plant  is  longer  than  the  pot 
This  can  be  done  by  holding  the  pencil  upright  before  the  eye 
at  arm's  length,  as  in  Fig.  144,  so  that  it  will  cover  the  pot,  and 
measuring  by  the  thumb  the  height  of  the  pot,  then  raising  the 
arm  so  as  to  cover  the  plant,  and  comparing  the  measurement 
of  the  pot  with  the  plant.  The  lines  drawn  from  the  eye  Fig. 
144)  show  how  the  pencil  makes  the  measurement  on  the  object. 

After  settling  the  question  of  the  height  of  the  flower-pot 
and  plant,  we  will  mark  the  measurements  on  the  line.  And 


now  we  will  draw  in  the  pot,  leaving  the  straight  line  through 
its  centre. 

On  observing  the  plant  we  will  see  that  it  is  not  exactly 
straight,  and  here  again  the  straight  line  will  be  of  assistance. 

By  holding  up  our  pencil,  which  represents  the  straight  line, 
we  will  discover  that  the  main  stem  of  the  plant  leans  consider- 
ably to  the  left.  Guided  by  the  line,  we  can  get  the  curve  of 
the  stem  about  right.  Now  we  sketch  the  stem.  Along  the 
straight  line  we  again  measure  the  distance  from  the  top  of  each 


How  to  Draw. 


233 


leaf  and  flower  to  the  pot,  as  in  Fig.  145.  We  can  see  several 
leaves,  each  reaching  a  certain  height.  Observing  the  same 
plan  of  measurement,  we  find  that  the  top  of  the  lowest  leaf  is 
about  the  same  height  from  the  pot  as  the  height  of  the  pot  it- 
self, and  again  from  the  top  of  the  lowest  leaf  to  the  top  of  the 
plant  measures  the  same  distance. 

By  drawing  another  vertical  line  just  touching  the  right  side 
of  the  pot,  we  find  that  it  touches  the  ex- 
treme edge  of  the  leaf.  Thus  we  find  the 
exact  situation  of  the  leaf.  By  the  same 
method  we  find  the  right  places  for  the 
other  leaves  and  flowers,  and  after  we 
know  just  where  they  belong,  we  draw 
them  in,  and  find  that  we  have  produced 
a  very  creditable  outline  from  nature. 

We  need  not  confine  ourselves  to  one 
or  two  guiding  lines  in  sketching  an  ob- 
ject ;  in  fact,  we  may  use  as  many  straight 
lines  as  will  help  us  to  get  the  correct  pro- 
portions ;  not  only  vertical  and  horizontal 
lines,  but  slanting  lines  will  also  assist  us 
in  most  cases] 

The  sketch   of  a  dog   (Fig.    146)  will 
give   an   idea  of  the   way  to   employ  all 
lines  necessary  in  sketching  from  nature. 
A  few  words  will  be  all  that  is  necessary  to  explain  this  illus- 
tration. 

There  lies  the  dog  on  the  floor,  and  we  seat  ourselves  at  a 
little  distance  from  it  with  pencil  and  paper.  We  will  start  off 
with  a  horizontal  line  (A)  ;  then  we  can  form  some  idea  as  to 
whether  the  little  dog  lies  along  a  straight  line,  or  in  case  the 
bottom  line  slants,  how  much  it  slants.  Then  draw  the  vertical 
line  (B  E).  Now  suppose  we  hold  our  pencil  upright,  in  such  a 


234 


Autumn. 


position  as  to  touch  the  back  of  the  knee-joint  of  the  foreleg, 
we  will  find  that  it  passes  through  the  middle  of  the  dog's  back, 

as  represented  by 
the  line  (B  E) ;  so 
we  have  found  the 
places  for  these 
parts. 

Another  hori- 
zontal line  (C  D) 
drawn  above  the 
first  will  touch  just 
over  the  right  eye, 
pass  through  the  middle  of  the  left  ear,  through  the  middle  of 
the  neck,  cut  off  the  foreleg,  and  run  along  the  top  of  the  two 
hind  legs,  passing  through  the  knee  of  the  left  one.  This  will 
show  us  that  the  top  of  the  right  eye,  the  ear,  and  the  top  of 
both  hindlegs  are  on  a  line.  It  will  also  help  us  to  get  the 
proportions  above  and  below  the  line  ;  then  by  drawing  a  line 
from  D  to  the  point  F  on  the  horizontal  line  A,  we  find  that 
the  lower  edges  of  the  left  hind  and  fore  legs 
are  on  the  same  line,  which,  if  extended  a 
little  farther  down,  will  touch  the  edge  of 
the  dog's  mouth.  With  these  lines  to  guide 
us  we  cannot  go  far  astray  in  our  propor- 
tions. 

One  of  the  chief  difficulties  in  following 
this  method  of  drawing  from  nature  is  to 
hold  our  measuring-stick  exactly  vertical  or 
horizontal.  This  difficulty  can  be  overcome 
by  providing  yourself  with  a  T-square  (Fig. 
147)  and  attaching  to  it,  at  the  point  P,  a 
string  with  a  weight  tied  on  the  other  end  so  that  it  will  hang 
plumb.  By  using  this  we  can  be  sure  whether  we  hold  it 


How  to  Draw.  235 


straight  or  not,  for  in  case  we  tip  it  too  much  on  one  side  or  the 
other  the  string  will  swerve  from  the  middle  of  the  upright  stick. 
Of  course,  whenever  we  hold  the  T-square  perfectly  straight, 
the  string  will  fall  straight  down  the  middle  of  the  upright,  and 
the  top  of  the  T  will  then  give  us  a  true  horizontal  line.  A  lit- 
tle thought  and  practice  will  lead  you  to  thoroughly  understand 
this  method,  and  when  you  really  understand  it  you  will  have 
an  unerring  guide  to  assist  you.  Of  course,  as  the  eye  and 
hand  become  more  trained,  with  practice  and  observation,  the 
work  will  become  easier,  and  you  will  not  need  the  T-square. 

In  beginning  the  practice  of  drawing  from  nature,  we  had 
better  confine  our  first  efforts  to  things  that  will  stand  still, 
for  without  a  practised  hand  it  will  be  almost  impossible  to 
sketch  a  restless  subject  ;  but  if  we  attempt  to  do  so,  we 
should  follow  the  methods  before  taught  as  nearly  as  possible. 

Now,  suppose  we  step  out  of  doors  in  search  of  something 
to  sketch.  The  first  moving  object  our  eyes  rest  upon  is  a 
goose,  and  we  decide  to  use  him  as  a  model. 

But  he  is  so  restless,  will  not  keep  still  an  instant.  First  we 
have  a  front  view,  then  a  side  view,  and  again  he  turns  his 
back  upon  us.  If  we  really  must  have  his  picture,  the  only  way 
is  to  catch  him  and  tie  him  up. 

Yet  even  now  he  is  a  difficult  subject,  twisting  and  turning, 
and  bobbing  his  head  about.  Determined  on  sketching  him, 
however,  we  observe  the  position  in  which  he  remains  the  long- 
est time,  or  assumes  oftenest,  and  begin  our  work. 

We  first  note  the  general  proportions.  Is  his  body  as  thick 
as  it  is  long  ?  Is  his  neck  as  long  as  his  body  ?  Are  his  legs 
nearest  the  head  or  tail  ?  Is  the  head  as  long  as  the  neck  ? 
What  part  reaches  the  highest,  or  what  part  the  lowest  ?  We 
hastily  but  carefully  consider  these  questions  and  determine  in 
our  own  mind  the  answers,  for  we  must  get  an  idea  of  the  pro* 
portions  before  we  begin  our  sketch. 


236 


Autumn. 


Now  we  draw  a  horizontal  line  along  our  paper,  and  then 
hold   up  our  pencil   horizontally,  so   that  it  will   answer  for  a 

straight  line  drawn  across  the 
body  of  the  real  goose  (Fig. 
148).  This  will  represent  the 
horizontal 
line  on  the 
paper.  No- 
ticing then 
the  direc- 
tions the 
outlines  of 
the  goose 

take  from  the  horizontal  line  (represented  by  the  pen- 
cil), we  sketch  them  in  on  the  paper,  remembering 
that  one  of  the  most  important  things  is  to  get  the  right  direc- 
tions of  the  lines. 

Observe  that  in  Fig.  149  the  line  G  is  directed  to  too  high 
a  point,  and  makes  the  body  too  thick  and  out  of  proportion. 


In  sketching  it  is  best  to  make  all  lines  straight  instead  of 
curves,  for  in  this  way  we  are  more  likely  to  get  the  right  direc- 


How  to  Draw.  237 


tions.  Our  first  rough  sketch  of  the  goose  ought  to  have  some- 
thing of  the  appearance  of  Fig.  150,  and  as  we  work  it  up  more 
carefully  it  will  become  as  nicely  rounded  as  we  could  desire. 

One  of  the  most  common  faults  a  beginner  is  apt  to  commit 
is  to  try  to  do  too  much,  either  by  choosing  too  great  a  subject, 
such  as  a  large  landscape,  or  by  putting  too  many  little  things 
into  the  composition.  Take  care  of  the  large  things,  and  the 
little  things  will  take  care  of  themselves. 

If  our  subject  be  a  clump  of  trees  at  some  distance,  we 
should  not  attempt  to  draw  in  separate  leaves,  but  endeavor  to 
get  the  true  shape  of  the  tree,  simply  indicating  the  leaves  by  a 
few  lines.  Neither  must  we  attempt,  in  our  first  sketches,  to  put 
in  all  the  shadows  we  see  ;  the  strong  principal  ones  are  all  that 
are  necessary.  A  background  of  hills  and  trees  should  be 
merely  suggested  by  a  few  lines,  because  the  light  striking  upon 
them  gives  a  very  light  appearance. 

Draw  as  simply  as  possible.  Ten  pictures  are  spoiled  by 
putting  in  too  much  work,  where  one  is  spoiled  by  too  little. 

Don't  be  discouraged.  Every  effort  will  show  improvement, 
if  you  really  put  your  mind  and  heart  in  your  work.  As  for 

Materials, 

a  sheet  of  drawing-paper,  a  No.  2  lead-pencil,  and  a  piece  of  soft 
rubber  are  all  you  really  need  to  commence  with.  Later  it  will 
be  well  to  have  a  drawing-pad  and  several  more  pencils. 


CHAPTER   XXII. 
HOW  TO  PAINT  IN  WATER-COLORS. 

HERE  is  a  certain  charm  in  water-color  paint- 
ing— a  charm  distinctly  its  own — which  lies,  as 
Penley  says,  "  in  the  beauty  and  truthfulness 
of  its  aerial  tones."  Without  this  quality  a 
water-color,  as  a  water-color,  is  a  failure. 

This  transparency  of  effect  does  not  depend 
alone  upon  the  manner  of  painting  or  the  col- 
ors employed,  but  much  rests  with  the  paper 
we  use.  In  the  days  when  our  mothers  and  grandmothers 
were  taught  painting  at  school,  the  finest,  smoothest  cardboard 
was  thought  necessary  ;  but  we  have  since  learned  that  the  flat, 
smooth  paper  tends  decidedly  toward  producing  a  flat,  smooth 
effect  in  the  picture  painted  upon  it,  while  the  rough,  uneven 
surface  of  the  paper  now  in  use  helps  to  produce  depth  and  at- 
mosphere.  Therefore  it  is  always  best  to  have  rough  paper  to 
paint  upon.  We  give  below  the 

Materials  for  Water-Color  Painting. 

1.  A  block  of  rough  drawing  or  water-color  paper. 

It  is  better  to  buy  it  in  blocks  than  by  the  sheet,  as  it  is 
much  more  easily  handled,  and  is  always  ready  for  use. 

2.  Brushes.    The   best  brushes  are  made  of  sable,  and  al- 
though costing  more  to  begin  with,  it  is  really  more  econom 


How  to  Paint  in  Water-Colors.          239 

ical  to  purchase  them  than  to  choose  the  less  expensive  camers- 
hair;  for  the  sable  are  by  far  the  most  satisfactory,  and  will  last 
much  longer.  Three  or  four  brushes  are  sufficient.  As  Devoe 
&  Co.  number  them,  they  should  range  between  No.  3,  which 
is  small  enough  for  ordinary  painting,  and  No.  19,  for  clouds, 
backgrounds,  etc. 

3.  Colors.  A  tin  sketching-box  of  moist  colors,  which  also 
contains  a  palette,  is  very  useful,  but  the  colors  can  be  bought 
separately  in  tubes  or  pans. 

Water-color  painting  seems  by  its  qualities  to  be  especially 
adapted  to  flowers  and  landscapes,  and  as  this  is  to  be  a  chap- 
ter, not  a  book,  on  water-colors,  we  will  confine  ourselves  to 
the  principal  points  to  be  observed  in  these  two  departments, 
and  will  commence  with  the 

Flowers. 

Few  oil-paintings,  however  well  executed,  give  the  deli- 
cate, exquisite  texture  of  a  flower  as  nearly  as  water-colors. 
The  semitransparency  of  a  rose-petal,  the  juicy,  translucent 
green  of  the  young  leaf,  it  is  difficult  to  truthfully  represent 
in  other  than  these  colors,  whose  essential  quality  is  transpar- 
ency. To  preserve  this  transparency  of  color,  everything  about 
the  painting  must  be  kept  exceedingly  neat.  The  brushes 
must  be  thoroughly  washed  before  using  them  for  a  different 
tint  from  that  already  upon  them,  and  plenty  of  water,  changed 
frequently,  is  necessary. 

Having  arranged  your  materials  conveniently  upon  a  table, 
place  your  paper  so  that  it  will  lie  at  an  angle  slanting  toward 
you,  not  perfectly  flat  upon  the  table ;  this  can  be  done  by  put- 
ting books  under  the  edge  farthest  from  you,  thus  raising  it  up. 
Stand  the  flowers  you  wish  to  copy  in  such  a  position  that  the 
light  will  fall  upon  them  only  from  one  direction  and  pro- 
16 


240 


Autumn. 


duce  decided  shadows ;  the  effect  will  then  be  much  better  than 
when  the  light  is  more  diffused. 

Always  arrange  your  model  exactly  as  you  want  to  paint  it, 
and  leave  nothing  to  your  idea  of  how  it  ought  to  look.  If  you 
do  not  intend  to  have  any  background  other  than  the  white  pa- 
per, place  something  white  behind  your  flowers.  If  you  want 
a  colored  background,  arrange  the  color  you  have  chosen  be- 
hind the  flowers,  and  paint 
it  as  you  see  it.  Commence 
your  work  by  sketching 
lightly,  as  correctly  and  rapidly  as  you 
can,  the  outline  of  your  flower.  Try 


something  simple  at  first ;  say  a  bunch  of 
heart's-ease  or  pansies,  and  when  drawing 
them  try  to  get  the  character  of  both  flow- 
er and  leaf.  Observe  how  the  stem  curves 
where  it  is  attached  to  the  flower,  and  at  what  angles  the  stems 
of  the  flowers  and  the  leaves  join  the  main  stalk.  Given  char- 
acter, an  outline  drawing  painted  in  flat  tints  will  closely  re- 
semble nature  ;  without  it,  the  most  beautifully  finished  paint- 
ing will  not  look  like  the  flower  it  is  intended  to  represent. 

When   your  outline  is  drawn   in,   dip    your   largest    brush 
in  clear  water,  and  go  over  the  whole  surface  of  your  paper 


How  to  Paint  in  I Vater-  Colors.          241 

then  place  a  piece  of  blotting-paper  over  the  paper  to  soak  up 
the  water,  leaving  it  simply  damp,  not  wet. 

If  you  are  using  tube  colors,  have  ready  on  a  porcelain 
palette,  or  ordinary  dinner-plate,  these  colors  :  crimson  lake, 
cobalt  blue,  indigo,  Prussian  blue,  and  gamboge.  Put  in  your 
lightest  tints  first,  leaving  the  white  paper  for  the  highest  light ; 
then  paint  in  your  darker  tints  and  shadows,  and  get  the  effect. 

If  your  flower  is  what  we  call  the  johnny-jump-up,  the  lowest 
petal  will  be  yellow.  Paint  this  in  with  a  light  wash  of  gam- 
boge, leaving,  as  we  have  said,  the  white  paper  for  touches  of 
high  light.  The  two  upper  petals  will  probably  be  a  deep 
claret-color  ;  this  is  made  by  mixing  crimson  lake  and  cobalt 
blue,  the  crimson  lake  predominating.  The  two  central  petals 
may  be  a  bluish  lavender,  and  this  color  is  made  by  mixing  a 
little  crimson  lake  with  cobalt  blue.  Use  plenty  of  water  ;  but 
do  not  let  it  run,  and  keep  the  colors  of  the  petals  distinct. 

Paint  the  stems  and  leaves,  where  they  are  a  rich  green,  with 
a  mixture  of  gamboge  and  Prussian  blue,  and  where  they  ap- 
pear gray  as  the  light  touches  them,  a  pale  wash  of  indigo  will 
give  the  desired  effect. 

Keep  your  shadows  broad  and  distinct,  and  your  tints  as 
flat  as  you  can.  Leave  out  details  altogether  in  your  first 
paintings,  and  add  them  afterward  only  when  you  can  do  so 
without  spoiling  the  effect. 

When  a  tinted  background  is  desired,  put  it  in  quickly  in  a 
flat  tint,  before  commencing  the  flowers.  It  is  best  not  to  bring 
the  tint  quite  up  to  the  outline,  as  a  narrow  edge  of  white  left 
around  the  flower  gives  a  pleasant,  sketchy  look  to  the  painting. 

Landscapes. 

In  your  first  studies  from  nature  keep  to  simple  subjects, 
and  treat  them  simply,  without  any  attempt  at  elaboration. 


242  Autumn. 


Choose,  for  instance,  a  picturesque  corner  of  an  old  fence,  with 
perhaps  a  bit  of  field  and  sky  for  the  background.  Sketch  in 
the  principal  features  in  the  foreground  in  outline,  and  indicate 
the  horizon,  if  it  comes  in  the  picture. 

Penley  says,  in  his  "  System  of  Water-Color  Painting," 
"  White  paper  is  too  opaque  to  paint  upon  without  some  wash 
of  color  being  first  passed  over  it,"  and  he  recommends  a  thin 
wash  of  yellow  ochre  and  brown  madder,  which  should  be 
put  all  over  the  surface  of  the  paper  except  on  the  high  lights 
in  the  foreground,  which  are  best  left  crisp  and  white. 

Notwithstanding  what  Penley  says  in  this  matter,  it  must  be 
borne  in  mind  that  some  artists  do  not  believe  in  successive 
washes,  but  claim  that  the  color  desired  should  be  put  upon  the 
white  paper  at  once. 

If  the  yellow  tint  is  used,  let  it  become  quite  dry  and  then 
wash  it  over  with  a  large  brush  and  clean  water  ;  then,  as  in 
the  flower  painting,  soak  up  the  water  with  blotting-paper  ; 
the  blotting-paper  must  also  be  quite  clean.  While  the  paper  is 
damp,  not  wet,  begin  with  a  blue  tint — a  light  wash  of  cobalt 
will  give  it — and  put  in  the  sky  in  a  flat  tint ;  bring  the  same 
color  down  all  over  your  sketch  except  in  the  high  lights.  The 
blue  tint  gives  atmosphere  and  distance.  Let  your  paper  again 
become  quite  dry,  and  then  wash  it  over  as  before,  in  clear  water. 

The  process  of  laying  on  color  and  lightly  washing  over  it 
afterward  should  be  repeated  several  times,  "  and  the  result 
will  be  a  transparent  aerial  tone." 

Keep  your  extreme  distance  bluish,  your  middle  distance 
warmer  in  tone,  but  not  too  strong,  and  the  principal  objects  in 
your  foreground  strong. 

Leave  out  small  objects,  and  with  light  and  shade  seek  to 
obtain  the  effect. 

Keep  your  colors  pure  or  your  sketch  will  be  dull. 

Contrast  has  much  to  do  in  producing  strength  and  character. 


How  to  Paint  in  Water- Colors.          243 

Phillips  says  that,  "  in  aiming  at  opposition  of  color,  we  must 
select  that  which  gives  force  to  the  foreground,  and  conse- 
quently communicates  the  appearance  of  air  in  the  distance. 
Thus,  if  the  general  tone  of  the  light  be  warm  and  yellow,  we 
should  have  blues  and  purples  in  the  foreground  ;  if  the  lights 
be  cool,  reds  and  yellows  in  the  foreground  give  atmosphere  to 
distance,  as  neither  of  these  colors  in  a  positive  state  is  found 
in  the  middle  or  remote  distance." 

The  three  principal  contrasts  are  blue  opposed  to  orange, 
red  to  green,  and  yellow  to  purple  ;  and  "  a  good  first  lesson  in 
sketching  in  color  will  be  to  put  in  your  shadows  with  color  op- 
posite to  the  object  in  light ;  and  by  carrying  out  this  principle 
of  opposition  throughout  the  scale  you  will  obtain  an  endless 
variety  of  contrasts."  It  is  the  general  rule  in  most  painting 
to  have  cool  shadows  to  warm  lights,  and  warm  shadows  to  cool 
lights.  We  all  know  that  a  green  picture  is  very  disagreeable, 
and  although  a  green  field  is  green,  it  must  not  be  made  in- 
tensely so.  An  untrained  eye  will  not  see  how  nature  tones 
down  the  vivid  color  with  shadows,  and  softens  it  with  the  at- 
mosphere ;  but  when  the  eye  has  learned  to  look  at  nature  in 
the  right  way  this  difficulty  will  be  overcome.  Howard  says, 
"  green  must  be  sparingly  used,  even  in  landscapes,  whose 
greatest  charm  consists  of  vegetation." 

Foliage  in  some  form  will  present  itself  in  almost  every 
landscape,  and  it  is  therefore  necessary  to  have  a  few  general 
principles  to  guide  you  in  this  important  feature.  In  sketch- 
ing trees  be  sure  to  get  the  character  of  their  trunks,  limbs, 
branches,  and  general  form  ;  also  the  texture  of  the  bark,  rough 
or  smooth.  You  will  see  that  the  foliage  appears  in  layers,  one 
above  another.  Sketch  in  the  outlines  of  the  principal  layers, 
where  they  are  tipped  with  light ;  then  go  over  the  whole  tree 
with  a  local  color,  and  afterward  separate  the  light  from 
shadow.  Each  mass  is  edged  with  light,  while  its  base  is  in 


244  Autumn. 


shadow,  as  a  rule.  Omit  details,  and  keep  to  your  masses  of 
light  and  shade.  If  your  tree  is  in  the  foreground,  leave  the 
white  paper  for  crisp  touches  of  high  light.  The  tone  of  your 
fence  will  probably  be  gray,  but  do  not  take  it  for  granted  that 
it  is  all  gray  ;  look  for  other  colors,  and  you  will  find  brown, 
blue,  green,  and  sometimes  red.  Put  these  in  as  you  see  them, 
letting  the  edges  melt  into  each  other,  as  they  will  do  when 
the  paper  is  damp  ;  but  have  each  color  pure,  and  do  not  try  to 
mix  them. 

Painting  from  Notes 

is  not  as  difficult  as  one  might  imagine.  With  a  little  practice 
it  is  easily  learned.  The  following  directions  will  tell  how  to 
paint  a  sunset  on  the  meadows,  from  notes  made  at  sunset-on 
the  meadows  on  Long  Island. 

Take  a  piece  of  Whatman's  rough  drawing-paper,  or  a  kind 
that  is  termed  egg-shell  cartoon,  the  size  decided  upon  for  your 
picture.  Have  ready  a  large  dish  of  clean  water,  brushes,  and 
paints.  Draw  a  pencil-line  along  the  centre  of  your  paper  for 
your  horizon,  Fig.  151  ;  then  directly  on  the  line  paint  a  streak 
of  vermilion.  Put  the  color  on  quite  damp,  and  make  it  about 
half  an  inch  broad,  extending  one-fourth  of  an  inch  on  either 
side  of  the  horizon-line,  Fig.  152.  Next,  quickly  paint  a  yellow 
streak  above  and  below  the  red  one,  making  each  streak  of  the 
same  size  and  parallel,  and  leaving  a  little  white  paper  between 
the  different  colors,  Fig.  153.  With  a  clean  brush  dipped  in 
clean  water  carefully  moisten  the  paper  between  the  streaks, 
and  allow  the  edges  of  the  colors  to  mingle,  Fig.  154.  Before 
this  has  time  to  dry,  paint  a  blue  streak  above  and  below, 
about  half  an  inch  from  the  yellow,  Fig.  155  ;  then  with  the 
clean  brush  dampen  the  white  paper  between,  being  careful  not 
to  get  it  too  wet ;  there  should  be  just  enough  moisture  to  en- 
able the  colors  to  flow  and  mingle  at  the  edges,  Fig.  156.  This 


How  to  Paint  in  Heater-Colors. 


245 


may  be  aided  by  holding  the  paper  first  one  side  up  and  then 
the  other,  until  the  edges  are  evenly  blended.  Now,  before 
the  horizon  is  quite  dry,  while  it  is  still  damp  enough  to  cause 


How  to  Paint  a  Sunset  in  Water- Colors. 


the  paint  to  spread,  fill  a  brush  with  Payne's  gray,  which  should 
be  rather  dark  and  not  too  wet,  touch  the  point  of  your  brush 
here  and  there  along  the  horizon,  now  a  little  above  and  now  a 


246 


Autumn. 


little  below,  and  you  will  find  that  the  paint  will  spread  and  make 

excellent 
trees  for  the 
distance,  Fig. 

157- 

When 
your  work  is 
dry  enough 
to  paint  over 
without 
spreading  the 
color,  mix 
some  green 
and  black, 
and  green 

and  brown ;  paint  in  the  meadow,  using  the  color  made  of  green 

and  black  for  the  extreme  and  middle  distance,  the  color  made 

of  green  and 

brown  for  the 

foreground, 

leavingspaces 

for  streams 

and   ponds, 

and  your  sun- 
set upon  the 

meadow    is 

finished.       A 

pretty  little 

sketch    it    is, 

too,  Fig.  158. 

A     differ-  fy'*0 

Leaf  from  an  Artist's  Note-Book. 

ent   composi- 
tion can  be  made  by  proceeding  as  directed  as  far  as  Fig. 


How  to  Paint  in  Water-Colors. 


247 


and  then,  instead  of  putting  in  trees  on  the  horizon,  hills  run- 
ning to  points  in  the  water  can  be  painted  in  a  flat  tint  with 
the  Payne's  gray,  and  a  vessel  with  masts  painted  in  the  fore- 
ground, as  in  Fig.  159.  This  also  makes  a  pretty  and  effective 
little  sketch. 

Fig.  160  shows  sunset  notes  taken  while  aboard  a  ferryboat 
in  the  winter  of  1886-87.  From  these  you  can  see  just  how  the 
notes  are  made  ;  but  you  must  make  your  own  notes,  because 
what  is  perfectly  intelligible  to  the  writer  of  the  sunset  memo- 
randa is  an  enigma  to  another  person.  For  example,  in  Fig. 
1 60,  "  Rose-tinted  sky"  may  mean  almost  any  shade  of  red,  or 
blue  and  red  mixed,  but  "Rose-tinted  sky"  no  doubt  brings 
before  the  mind's  eye  of  the  writer  of  the  notes  the  exact  color 
of  the  sky  at  the  time  the  notes  were  made. 


A  Study  in  Oil. 


CHAPTER  XXIII. 


HOW  TO  PAINT  IN  OIL-COLORS. 

'HE  difference  between  oil-  and  water-color 
painting  lies  in  the  fact  that,  although  espe- 
cially well  adapted  to  the  portrayal  of  some 
subjects,  water-color  has  its  limitations, 
while  with  oil-colors  any  subject,  from  the 
simplest  study  in  still-life  to  the  grandest 

conception  of  a  great  artist,  can  be  represented,  and  no  limit 

has  yet  been  reached  in  its  possibilities. 

But  there  are  first  steps  to  be  taken  in  all  things,  and  the 

greatest  artist  who  ever  lived  had  to  make  a  beginning  and  learn 

the  preliminaries  of  painting  before  he  could  produce  a  picture. 

To  these  steps,  then,  we  will  turn  our  attention,  and  the   first 

will  be  the  necessary 

Materials. 

The  following  list  of  colors,  with  their  combinations,  will  be 
found  sufficient  for  most  purposes. 


YELLOWS. 

Yellow  Ochre, 
Naples  Yellow, 
Light  Cadmium, 
Orange  Cadmium. 


REDS.  BLUES.  GREENS. 

Vermilion,  Permanent  Blue,  Terre  Verte, 

Light  Red,  Cobalt,  Emerald  Green, 

Indian  Red,  Antwerp  Blue.  Light  Zinnober 
Venetian  Red,  Green. 


Burnt  Sienna,  Rose  Madder. 

Silver  White,  Raw  Umber,       Vandyke  Brown,    Ivory  Black. 


250  Autumn. 


Winsor  &  Newton's  colors  are  acknowledged  by  most  ar- 
tists to  be  the  best,  but  the  writer  personally  prefers  German 
white,  as  in  her  opinion  it  is  not  so  stiff,  and  mixes  better  with 
other  colors  than  the  Winsor  &  Newton. 

The  Easel 

may  be  simply  a  pine  one,  which  can  be  purchased  from  any 
dealer  at  the  cost  of  about  one  dollar.  More  elaborate  easels 
are,  of  course,  more  expensive  ;  but  as  the  merits  of  a  picture  do 
not  depend  upon  the  easel  which  holds  it,  a  common  pine  one 
will  do. 

The  Palette 

should,  be  light  in  weight  and  not  too  small ;  oiled  and  not  var- 
nished. A  very  light-colored  wood  is  not  desirable  ;  one  of 
walnut  or  cedar,  about  eighteen  inches  long,  is  the  best  to  use, 
and  will  cost  from  thirty  to  sixty  cents. 

Brushes, 

both  of  sable  and  bristles,  are  used,  but  we  would  advise  a  be- 
ginner to  work  with  bristle  brushes  only,  for  the  first  attempt 
should  be  to  obtain  a  broad  style  of  painting,  without  the 
finished  details  which  the  sable  brushes  are  used  for. 

About  four  different  sizes  of  flat  bristle  brushes  are  needed 
to  commence  with  ;  there  should  be  two  of  each  size,  the  larg- 
est one  inch  wide,  and  the  smallest  not  more  than  a  quarter  of 
an  inch  in  width. 

The  Palette-Knife 

is  used  for  taking  up  color  on  the  palette,  for  cleaning  the  pal- 
ette, and  sometimes  for  scraping  a  picture  after  its  first  painting. 


How  to  Paint  in  Oil- Colors.  251 

It  should  be  flexible,  but  not  too  limber.  The  cost  will  be  from 
twenty-five  cents  upward. 

Oil-Cups 

are  fastened  on  to  the  palette,  and  are  used  for  oil  and  turpen- 
tine. The  double  ones  range  in  price  from  eight  cents  to 
twenty.  The  single  ones,  without  cover,  can  be  bought  for 
five  cents.  . 

A  Paint-Box 

for  holding  colors,  palette,  and  brushes  will  cost  from  one  dollar 
and  twenty-five  cents  up.  It  is  convenient  to  have  one,  and 
necessary  when  going  out  sketching,  but  for  painting  at  home 
any  kind  of  tin  box  will  answer  for  the  paints.  The  palette  can 
be  hung  up,  and  the  brushes  put  in  a  vase  or  jar,  handles  down- 
ward, which  will  keep  them  nicely. 

Mediums. 

Boiled  linseed-oil  or  poppy-oil,  siccatif  Courtray,  and  tur- 
pentine. 

Canvas. 

In  selecting  canvas  choose  that  of  a  warm-gray  or  creamy  tone, 
for  it  is  difficult  to  give  warmth  to  a  picture  painted  on  a  cold- 
gray  canvas.  The  German  sketching-canvas  is  quite  cheap, 
and  does  very  well  to  commence  on.  It  is  best  to  buy  it  on  the 
stretcher,  as  a  girl's  fingers  are  seldom  strong  enough  to  stretch 
the  canvas  as  tight  as  it  should  be.  A  very  good  sketching-can- 
vas, 18x24,  can  be  bought  in  New  York  City  for  twenty-five 
cents. 

Several  clean  pieces  of  old  white  cotton-cloth  are  necessary 
for  wiping  brushes,  cleaning  knife  and  palette,  etc. 


252  Autumn. 


The  Light 

in  the  studio,  or  room  in  which  you  paint,  should  come  from  one 
direction  only,  and  fall  from  above.  This  can  be  managed 
by  covering  the  lower  sash  of  the  window  with  dark  muslin,  or 
anything  that  will  shut  out  the  light.  A  shawl  will  answer  for  a 
temporary  curtain. 

Most  artists  prefer  that  while  painting  the  light  should 
come  from  behind  over  the  left  shoulder. 

Our  advice  to  beginners  in  all  the  departments  of  art  is  the 
same  :  commence  with  simple  subjects. 

Your  first  study  should  be  from  still-life  (which  means  any  in- 
animate object  used  for  artistic  study),  and  let  the  object  selected 
be  of  a  shape  that  requires  but  little  drawing  ;  for  your  aim  now 
is  to  learn  to  handle  your  colors,  and  it  is  not  desirable  to  have 
your  mind  distracted  by  complicated  drawing.  A  vase  placed 
on  a  piece  of  drapery,  which  is  also  brought  up  to  form  the 
background,  is  a  good  subject ;  the  drapery  should  be  of  one 
color,  and  of  a  tone  that  will  contrast  agreeably  with  the  vase 
and  give  it  prominence. 

Arrange  whatever  object  you  have  decided  to  paint  so  that 
it  will  show  decided  masses  of  light  and  shade  ;  place  your  easel 
at  a  sufficient  distance  from  it  to  obtain  the  general  effect  of 
shape  and  color  without  seeing  too  much  detail ;  arrange  your 
canvas  on  the  easel  so  that  you  will  neither  have  to  look  up 
nor  down  upon  it,  but  straight  before  you  ;  then  sketch  in  the 
object  you  are  about  to  copy  in  outline.  Observe  the  edges  of 
the  heaviest  shadows,  and  draw  them  also  in  outline.  Char- 
coal is  better  than  a  pencil  for  sketching  on  canvas,  as  it  can 
be  easily  rubbed  off  with  a  clean  cloth  if  the  drawing  is  incor- 
rect. When  the  sketch  is  finished,  dust  off  the  charcoal  lightly 
and  go  over  the  lines  again  with  a  camel's-hair  brush  and  India 
ink. 


How  to  Paint  in  Oil- Colors. 


253 


Setting  the  Palette 

is  a  term  used  for  arranging  the  colors  in  a  convenient  man- 
ner upon  the  palette.  The  colors  should  always  occupy  the 
same  position,  so  that,  the  places  once  learned,  you  will  never 
be  at  a  loss  to  find  the  color  you  want.  Fig.  161  shows  a  con- 


Fig.  161 — Manner  of  Arranging  Colors  on  Palette. 

venient  arrangement  of  colors,  as  well  as 
the  position  of  the  oil-cans. 

Fill  one  of  your  oil-cans  one-third  full  of  turpentine,  to  which 
add  enough  siccatif  Courtray  to  turn  it  the  color  of  strong 
coffee.  Dip  one  of  your  good-sized  brushes  in  this  mixture  and 
scrape  it  off  on  the  edge  of  the  can,  that  the  brush  may  not  be 
too  wet ;  then  take  up  some  burnt  sienna  on  the  brush  and  put 
it  on  your  palette  about  an  inch  or  so  below  the  terre  verte, 
add  some  terre  verte,  and  mix  the  two  with  your  brush.  Lay 
in  all  the  shadows  of  the  vase,  or  whatever  object  you  are  about 


254  Autumn. 


to  paint,  in  a  flat,  even  tone  with  the  color  thus  formed,  keep- 
ing it  thin  with  the  turpentine  and  siccatif. 

Mix  a  tint  as  near  the  required  color  as  you  can,  and  go 
over  the  whole  background  without  regard  to  light  or  shade  ; 
cover  all  the  background  ;  do  not  leave  any  white  or  bare  can- 
vas showing. 

The  general  effect  being  thus  obtained,  it  is  easier  to  see 
what  colors  are  needed  for  further  painting. 

Select  a  medium  tint  between  the  high  lights  and  half-tones, 
and  paint  in  the  lights  of  the  vase  in  a  flat,  even  tint  ;  then  go 
over  the  shadows  again  with  a  medium  tone,  still  keeping  them 
in  one  flat,  even  mass.  Should  you  lose  the  outline  at  any 
time,  dip  a  rag  in  turpentine  and  wash  off  the  paint  that  cov- 
ers it. 

Having  progressed  this  far,  the  painting  should  be  left  to 
dry. 

The  turpentine  and  siccatif  Courtray  have  such  drying  prop- 
erties that  by  the  next  day  you  may  work  again  on  the  study. 

Begin  the  second  painting  by  putting  in  the  half-tints.  These 
unite  the  decided  light  and  shade,  and  should  be  dragged  over 
their  edges,  but  not  blended  with  them.  Once  more  go  over 
the  shadows,  strengthening  them  and  putting  in  the  reflected 
lights. 

Add  more  color  in  the  lights  where  it  is  needed,  and  put  in 
the  high  lights  with  clear,  crisp  touches.  Work  on  your  back- 
ground in  this  second  painting.  Indicate  the  shadows,  but  do 
not  make  them  strong,  except  the  one  which  will  probably  be 
cast  by  the  object ;  that  can  be  strengthened,  as  it  helps  to  set 
the  object  out  from  the  background  and  gives  the  idea  of  space. 
Do  not  make  the  background  strong  ;  keep  it  toned  down,  that 
it  may  not  become  too  prominent.  Drag  the  background  a  lit- 
tle over  the  edges  of  the  vase,  or  whatever  it  may  be  you  are 
painting,  and  then  paint  over  it  again  with  the  colors  of  the 


How  to  Paint  in  Oil-Colors.  255 

vase.     Do  this  while  working  around  the  edges  of  the  vase,  or 
object,  to  prevent  its  looking  flat,  as  if  it  were  pasted  on. 

These  directions  are  to  be  applied  to  painting  any  subject ; 
but  after  you  have  learned  how  to  manage  the  colors  and  wish 
to  really  paint  a  picture,  the  medium  must  be  changed  from  tur- 
pentine and  siccatif  Courtray  to  oil,  either  linseed  or  poppy, 
using  the  turpentine  only  for  the  first  effect  of  shadow. 

When  oil  is  used  it  will  require  two  or  three  days  for  the 
picture  to  dry.  Many  advise  the  use  of  but  little  oil,  and  there 
are  artists  who  dissapprove  of  any  medium  at  all. 

Before  commencing  the  second  painting,  a  coating  of  poppy- 
oil  should  be  put  all  over  the  canvas  with  a  large,  flat  camel's- 
hair  brush.  Every  bit  should  be  covered  without  touching  the 
brush  twice  to  the  same  spot.  This  softens  the  first  coat  of 
paint  sufficiently  to  allow  of  its  blending  with  the  next.  If  a 
raw  potato  be  cut  in  half  and  rubbed  over  the  painting  before 
the  oil  is  put  on,  it  will  prevent  the  oil  from  crawling,  or  sepa- 
rating into  drops  on  the  canvas. 

Do  not  use  the  same  brushes  for  dark  and  light  tints,  but 
keep  them  separate.  Mix  your  tints  on  your  palette,  the  dark 
tint  below  the  dark  colors,  and  the  light  tint  below  the  light  colors. 

In  putting  away  your  work  after  painting,  be  sure  that  the 
tops  are  screwed  on  to  all  your  color-tubes,  and  arrange  them 
neatly  in  their  box.  Clean  your  palette  with  the  palette-knife, 
and  then  wipe  it  off  with  a  rag.  Dip  your  brushes,  one  by  one, 
in  turpentine  and  wipe  them  on  a  rag  ;  this  removes  most  of 
the  paint  and  makes  them  easier  to  wash.  Warm,  not  hot, 
water  should  be  used  for  washing  the  brushes.  The  best  way 
is  to  hold  several  brushes  in  the  right  hand,  their  sticks  being 
in  an  upright  position,  dip  them  in  the  water,  rub  them  on  a 
piece  of  common  soap,  and  then  scrub  them  round  and  round 
on  the  palm  of  the  left  hand  ;  rinse  them  in  clear  water,  and 
wi-pe  dry  with  a  clean  rag. 
17 


256 


Autumn. 


Our  limited  space  will  not  allow  of  our  going  more  fully  into 
the  details  of  painting  ;  but  we  hope  that  these  directions  will 
give  some  idea  of  how  to  make  a  beginning  as  a  painter  in  oil- 
colors,  and  after  you  have  made  a  start  you  will  find  two  good 
professors  at  your  elbow  to  help  you  along  and  encourage  you 
— Prof.  Judgment  and  Prof.  Experience. 


CHAPTER   XXIV. 
HOW  TO  MODEL  IN   CLAY  AND  WAX. 

'N  eminent  artist  once  remarked  within  the  writ- 
er's hearing  that,  should  he  bring  into  his 
studio  the  first  dozen  boys  he  happened  to 
meet  on  the  street,  taking  them  as  they 
came,  he  would  probably  be  able  to  teach 
at  least  half  of  them  to  model  within  six 
months,  whereas  there  might  not  be  one 
of  them  who  could  be  taught  to  paint  at  all.  Possibly  none  of 
these  boys  would  ever  become  great  sculptors,  but  they  could 
learn  to  model  moderately  well.  If  that  is  the  case  with  boys, 
who  are  apt  to  be  so  awkward  and  clumsy,  how  quickly  could 
a  girl's  deft  fingers  learn  to  mould  and  form  the  plastic  clay  or 
wax  into  life-like  forms.  In  some  of  the  institutions  for  the 
blind,  deaf  and  dumb,  modelling  is  taught  with  great  success. 
Quickly  the  sensitive  fingers  of  the  young  inmates  run  over  the 
object  to  be  copied,  and  skilfully  they  reproduce  in  their  clay 
the  form  conveyed  to  them  by  touch  alone.  It  is  pleasant  to 
think  that  these  silent  little  workers  have  this  new  pleasure 
added  to  their  somewhat  limited  stock  ;  but  at  the  same  time 
the  fact  puts  to  shame  some  of  us  who,  having  all  our  faculties, 
the  use  of  all  our  senses,  and  not  infrequently  artistic  ability 
in  addition,  do  so  little  with  the  talents  intrusted  to  our  care. 

Let  us  to  work  then,  girls,  and  see  if  we  cannot  accomplish 
at  least  as  much  as  our  unfortunate  sisters,  who  have  neither 
sight  nor  hearing  to  guide  them. 


Modelling  in  Clay. 


How  to  Model  in  Clay  and  Wax.       259 

The  great  difficulty  we  encounter  in  learning  to  draw — which 
is  representing  things  as  they  appear,  not  as  they  really  are — 
will  not  trouble  us  in  this  other  department  of  art,  for  in  model- 
ling it  must  be  our  aim  to  do  precisely  the  reverse,  and  repro- 
duce an  object  exactly  as  it  is,  not  as  it  appears. 

Modelling,  besides  its  own  worth,  is  of  value  as  an  aid  to 
drawing,  for  it  teaches  form,  and  the  shadows  on  an  object  can 
be  drawn  more  intelligently  and  correctly  when  it  is  known  just 
what  formations  produce  them. 

A  great  deal  can  be  done  in  modelling  without  the  aid  of  a 
teacher.  So,  not  waiting  to  look  up  a  professor,  suppose  we 
commence  by  ourselves  and  see  what  we  can  do.  It  is  very  fas- 
cinating work,  and  if  a  few  failures  are  the  result  of  our  first  at- 
tempt, we  need  not  be  discouraged,  for  what  others  can  do,  we 
also  can  accomplish. 

The  writer  has  lately  been  initiated  into  the  mysteries  of  this 
art,  and  since,  as  they  say,  the  person  just  graduated  from  a 
primary  department  is  best  fitted  to  teach  in  that  department, 
perhaps  the  hints  given  here  may  be  better  suited  to  the  under- 
standing of  beginners  than  if  they  were  written  by  a  great 
sculptor,  who  might  forget  that  everyone  does  not  know,  as 
well  as  he  does  himself,  the  preliminary  steps  necessary  even  in 
accomplishing  the  grandest  results. 

Instead  of  entering  into  the  later  and  more  artistically  finished 
processes  we  will  confine  ourselves  to  the  prelude  or  introduc- 
tion to  modelling  ;  and  then,  girls,  with  the  object  before  you, 
your  only  guide  and  instructor,  you  must  work  out  the  rest  for 
yourselves. 

The  first  thing  to  do  is  to  provide  your 

Materials, 

and  here  is  a  list  of  all  you  will  need  : 

I.  Clay,  such  as  is  used  by  potters,  perfectly  free  from  grit 


260 


Autumn. 


2.  Modelling-tools.     These  can   be  bought  at    any   artists' 

material  store,  and  the  simplest  ones  might  be  made  at  home 
of  hard  wood.  Only  a  few  tools  are  nec- 
essary for  a  beginner  ;  Fig.  162  shows 
those  most  useful.  The  fingers  and  thumbs 
are  the  best  of  all  tools,  and  a  great  deal 
can  be  done  with  them,  though  for  fine, 
delicate  modelling  tools  must  be  used. 

3.  Modelling-stand.  A  regular  mod- 
elling-stand with  rotary  platform  will  cost 
from  eight  to  twelve  dollars  and  the  ex- 
pense may  be  an  objection  ;  but  the  writer 
has  found  that  an  ordinary  high  office- 
stool  with  revolving  seat  makes  a  good 
substitute.  If  the  stool  is  not  high  enough 
it  can  be  raised  by  placing  on  the  seat  a 
drawing-  or  pastry-board,  and  on  top  of 
that  a  square  wooden  box  about  one  foot 

high  and  broad  enough  to  allow  sufficient  room  for  a  good-sized 

head  and  bust. 

4.   Basin   of  water  and  towel  for  washing  and   drying  the 

hands. 

How  to  Manage  Clay. 

Clay  costs,  near  New  York,  from  one  to  three  cents  per 
pound,  and  about  fifty  pounds  will  be  required.  If  possible  buy 
it  moist,  but  if  dry,  put  it  into  an  earthenware  jar,  or  anything 
that  will  hold  water,  and  cover  with  clear  water.  Let  it  remain 
until  thoroughly  moistened ;  then  with  a  stick  stir  the  clay 
around  as,  when  a  small  girl,  you  did  the  mud  while  making 
mud-pies,  until  it  is  free  from  lumps  and  is  perfectly  smooth  ; 
clear  away  from  the  sides  of  the  jar  and  pile  it  up  in  the  cen- 
tre. 


Modelling  Tools 


How  to  Model  in  Clay  and  Wax.       261 


When  it  is  dry  enough  not  to  be  muddy  and  is  still  pliable, 
it  is  in  a  fit  condition  to  work  with.  It  is  necessary  to  keep 
your  hands  perfectly  clean  and  conveni- 
ences for  washing  them  should  be  handy. 
Do  not  use  muddy  water  or  a  dusty 
towel. 

Use  any  tools  that  will  produce  the 
result  desired  with  the  greatest  ease  ;  a 
little  experience  will  soon  determine 
what  they  are,  but  as  a  rule  the  largest 
are  best. 

When  leaving  unfinished  work  cover 
it  with  a  damp  cloth  to  keep  it  moist. 
If  you  are  working  on  a  head,  and  the  features  have  been  com- 
menced, stick  a  small  wooden  tool  in  the  head  just  above  the 
forehead  to  hold  the  cloth  away  from  the  face,  for  it  is  liable  to 
soften  the  nose  and  push  it  out  of  shape  if  it  rests  upon  it. 

A  frame  made  of  laths  (Fig.  163)  covered  with  oil-cloth  or 
rubber  (an  old  gossamer  water-proof  will  be  just  the  thing), 
placed  over  the  modelling,  will  keep  it  better  than  the  cloth,  as 
it  excludes  the  air  and  prevents  its  dry- 
ing (Fig.  164).  When  using  the  frame, 
sprinkle  your  work  by  dipping  a  clean 
whisk-broom  into  water  and  shaking  it 
over  the  clay.  Remember,  the  clay 
must  always  be  kept  moist  and  pliable 
and  never  allowed  to  dry.  If  it  does 
become  dry  and  hard  there  is  nothing  to 
do  but  to  put  it  back  into  the  jar,  and  go 
through  the  process  of  damping  it  again. 
Keep  your  tools  clean,  and  do  not 
allow  the  metal  ones  to  become  rusty,  as  they  will  if  carelessly 
left  on  the  modelling-stand  when  not  in  use.  To  avoid  trouble 


262 


Autumn. 


of  this  kind  it  is  best  to  put  your  tools  in  a  box  where  they 
will  be  perfectly  dry.  Unless  you  wish  to  go  through  one  of 
the  writer's  first  experiences,  when  she  was  obliged  to  let  her 
tools  lie  in  a  pan  of  kerosene  oil  for  two  days,  and  then  clean 
them  with  knife-brick. 


How  to  Preserve  Modelled  Clay. 

If  terra-cotta  clay  is  used,  it  can  be  baked  in  a  kiln,  which 
will,  while  hardening,  turn  it  a  fine  buff  terra-cotta  color,  and 
make  the  object,  if  well  modelled,  ornamental  enough  for  almost 
any  use. 

From  the  other  clay,  plaster  casts  can  be  taken,  and  the  ar- 
ticle reproduced  in  plaster  as  many  times  as  desired. 

Hints  for  Modelling  a  Head. 

Always  work  from  a  model,  and  it  is  best  to  try  copying 
plaster  casts  before  attempting  to  model  from  life. 

Place  on  the  centre  of  your  stand  a  wooden  or  tin  box  (a 


F&./66 
How  to  Model  a  Head. 


cigar-box  will  do)  to  form  the  base  ;  cover  this  with  clay  in  the 
form  of  Fig.  165,  and  stick  a  support  in  the  middle,  as  shown  in 


How  to  Model  in  Clay  and  Wax.       263 

diagram.  The  support  may  be  a  piece  of  kindling-wood  eight 
inches  long  and  about  one  inch  thick. 

Build  up  the  clay  around  this  stick,  as  in  Fig.  166,  and  with 
your  hands  mould  the  clay,  piecing  it  out  here,  and  cutting  off 
there,  until  it  bears  some  resemblance  to  a  head,  as  in  Fig.  167. 

Still  using  your  hands,  get  the  general  proportions  of  the 
head,  and  then  commence  the  features.  Begin  with  the  profile, 
using  tools  when  necessary,  and  try  for  character  without  de- 
tail ;  then  turn  the  head  a  little  and  work  from  that  point  of 
view;  always  look  at  your  model  from  the  same  point  of  view 
as  you  do  your  work.  Turn  the  head  in  the  opposite  direction 
and  model  the  other  side,  keeping  the  face  evenly  balanced. 
Continue  turning  your  work  little  by  little,  until  each  outline  it 
presents  is  as  near  as  you  can  get  like  the  corresponding  out- 
line of  your  model,  and  then  work  up  the  detail. 

In  modelling  any  object  the  same  process,  of  viewing  the 
model  from  all  points,  must  be  gone  through  with. 

Do  not  strive  to  obtain  a  likeness  at  first,  but  be  careful  to 
have  all  of  your  outlines  correct,  and  the  likeness  will  come  of 
itself. 

How  to  Model  in  Wax. 

Modelling-wax  prepared  at  home  is  much  better  than  any 
that  can  be  purchased.  The  following  recipe  is  a  very  good 
one  : 

Modelling-  wax. 

I  pound  pure  yellow  beeswax. 

y2  pound  corn-starch. 

4  ounces  Venice  turpentine. 

\y2  ounce  Venetian  red  powder. 

y2  ounce  sweet-oil. 

Put  the  wax  on  the  stove  in  a  saucepan  and  let  it  melt ;  take 


264 


Autumn. 


off  and  pour  in  the  turpentine.    Never  attempt  to  add  this  while 
the  wax  is  near  the  fire,  as  it  is  extremely  dangerous.     It  is 
__  ^_______        a  g°°d  idea,  when  buying 

the  ingredients,  to  have  the 
oil  and  turpentine  put  in  the 
same  bottle  (which  should 
have  a  wide  neck),  then  they 
can  be  poured  into  the  wax 
at  the  same  time.  Warm 
the  bottle  of  oil  and  turpen- 
tine in  hot  water  to  soften 
before  mixing  with  the  wax. 
Keep  stirring  all  the  time. 
Pour  in  the  corn-starch  and 
Venetian  red.  When  the 
corn-starch  is  dissolved  the 
wax  is  ready  for  use. 

Modelling-wax  is  much 
more  expensive  than  clay;  it 
is  used  principally  for  small 
objects  and  those  that  re- 
quire fine  workmanship.  It 
is  quite  useful  for  sketchy 
work,  as  it  may  be  carried 
about  almost  like  a  sketch- 
book, and  being  so  much 
cleaner  than  clay,  it  can  be 
used  even  in  the  parlor  with- 
out damage  to  table  or  car- 
pet. With  the  wax  on  a  small 

, 

board  one  can  sit  at  a  table 


Bas-relief  Figure  in  Wax. 


and  work  very  comfortably.     The  tools  for  clay  modelling  may 
also  be  used  for  wax  ;  probably  the  smallest  will  be  most  useful. 


How  to  Model  in  Clay  and  Wax.       265 


As  cold  weather  advances,  we  like  to  pass  the  evenings  in 
some  agreeable  occupation,  that  may  be  carried  on  without  dis- 
turbing the  family 
group  around  the 
fireside.  For  such 
occasions,  modelling 
in  wax  will  make  a 
pleasant  pastime. 
Sitting  quietly,  tak- 
ing part  in  the  gen- 
eral conversation,  or 
listening  while  some- 
one reads  aloud,  one 
may  model  the  wax 
into  many  pretty 
forms  to  be  preserved 
afterward  in  plaster, 
or,  obtaining  a  pro- 
file view,  a  likeness 
of  one  of  the  group  may  be  done  in  bas-relief.  If  a  slate  is 
used  to  work  on,  it  will  make  a  good  foundation,  and  the  head 
can  first  be  drawn  on  it  in  outline  and  the  wax  built  over  it, 
using  the  drawing  as  a  guide.  The  slate  is  smooth  and  firm, 
and  it  is  a  good  idea  to  use  it  as  a  foundation  for  all  wax  bas- 
relief,  especially  when  plaster  casts  are  to  be  taken  from  the 
modelling,  for  in  that  case  the  panel  forming  the  background 
must  be  perfectly  even. 


Bas-relief  Head  in  Wax. 


CHAPTER    XXV. 
HOW   TO    MAKE    PLASTER    CASTS. 

T  is  not  at  all  difficult  ;  anyone  can  succeed  in  it  who 
will  take  the  pains  to  follow  carefully  the  directions 
given  here  for  making  plaster  casts.  Without  the 
knowledge  of  drawing  or  modelling  you  can  in  this 
way  reproduce  almost  any  article  in  a  very  short  time. 
Casting  in  plaster  is  really  so  simple  a  process 
that  even  a  child  can  soon  learn  to  manage  it  nicely. 
You  will  need  a  board,  about  a  foot  and  a  half 
square,  upon  which  to  work,  fifteen  or  twenty  pounds  of  clay, 
five  pounds  of  plaster-of-Paris,  a  cup  of  warm  melted  lard,  and 
several  small  wooden  pegs  ;  these  can  be  made  of  wooden 
tooth-picks  or  matches  broken  in  two. 

Select  an  object  with  few  angles  and  a  smooth  surface  to  ex- 
periment on  ;  a  firm  round  apple  will  do.  Rub  the  lard  all 
over  the  apple  until  every  particle  is  greased  ;  then  lay  it  in 
the  centre  of  your  board.  Take  some  clay  and  pack  it  around 
it  just  as  high  as  the  middle  of  the  apple,  forming  a  square,  as  in 
Fig.  168.  Smooth  the  clay  off  on  the  edges  and  stick  pegs  in 
diagonal  opposite  corners  (Fig.  168)  ;  then  with  more  clay  build 
a  wall  close  around  the  apple  and  its  case,  making  the  sides  one 
inch  higher  than  the  top  of  the  apple  (Fig.  169).  Put  a  cupful 
of  clear  water  into  a  pan  or  dish,  and  stir  in  enough  plaster  of 
Paris  to  make  it  like  batter  ;  pour  the  plaster  over  the  apple, 
filling  the  clay  box  to  the  top.  This  makes  a  half  mould  of 


268 


Autumn. 


clay  and  a  half  mould  of 
plaster. 

When  the  plaster  is 
hard,  which  will  be  in  a 
very  short  time,  pull 
away  your  clay  wall,  and 
take  out  the  apple  and 
half  plaster  mould  to- 
gether, lifting  the  apple 
from  its  half  clay  mould. 

Remove  the  clay  from 
your  board  and  set  the 
plaster  mould  containing 
t^ie  aPple  m  the  centre. 
Rub  lard  over  the  apple 
and  upper  edge  of  the 
mould,  build  around  it 


the  clay  wall,  as  you   did   the  first  time  ;  roll  a  small  piece  of 
clay  into  a  slender  conical  shape  and  stand  it  upright  on  top  of 


How  to  Make  Plaster  Casts.  269 

the  apple,  as  in  Fig.  169.  This  will  make  a  hole  through  which 
to  pour  the  plaster  when  filling  the  completed  mould,  and  it 
must  stand  high  enough  to  reach  above  the  top  of  the  clay 
wall. 

Pour  the  plaster  over  the  apple  as  at  first,  and  let  it  set  or 
harden.  Take  away  the  wall  of  clay  once  more,  and  carefully 
separate  the  two  parts  of  the  mould  with  the  blade  of  a  table- 
knife  ;  remove  the  apple,  and  all  is  ready  for  the  final  cast  which 
is  to  produce  your  plaster  fruit  (Fig.  170). 

Thoroughly  grease  the  inside  of  your  mould,  fit  the  two 
parts  together,  and  wrap  and  tie  them  with  string  to  hold  them 
in  place. 

Pour  in  the  plaster,  through  the  hole  left  in  one-half  of  the 
mould,  until  it  is  quite  full  ;  then  gently  shake  it  to  send  the 
plaster  into  all  small  crevices. 

Let  your  mould  stand  without  moving  again  until  sufficient 
time  has  elapsed  for  the  plaster  to  harden  ;  then  gently  sepa- 
rate the  two  parts  and  you  will  find  a  perfect  cast  of  the 
apple. 

The  ridge  made  by  the  joining  of  the  mould  you  must 
scrape  ofif  with  a  sharp  knife,  or  rub  with  sand-paper. 

In  taking  casts  of  almost  any  object  not  too  complicated, 
this  same  method  must  be  employed.  The  only  difficulty  lies 
in  deciding  just  where  to  place  the  dividing-line,  which  must 
be  exactly  at  the  broadest  part  of  your  model,  otherwise  you 
will  break  your  mould  in  taking  the  object  out. 

In  casting  a  hand  the  clay  must  be  built  up  around  each 
finger  to  precisely  its  widest  part ;  therefore  it  is  a  good  plan,  be- 
fore commencing,  to  mark  on  the  hand,  with  a  fine  paint-brush 
and  ink,  the  line  that  is  to  be  observed. 

When  making  casts  of  long  objects,  or  those  that  are  larger 
at  one  end  than  the  other,  such  as  vases,  always  lay  them  on 
one  side,  as  a  much  better  mould  can  be  obtained  in  that  way, 


2jo  Autumn. 


I  have  read  that  if  milk-and-water  is  used  for  mixing  the 
plaster,  or,  after  the  cast  has  hardened,  if  a  little  oil,  in  which 
wax  has  been  dissolved,  be  applied  to  the  surface,  it  will  take 
a  high  polish  ;  and  if  left  for  a  while  in  a  smoky  room  it  will 
acquire  the  look  of  old  ivory. 

The  same  writer  also  states,  without  giving  the  proportions, 
that  liquid  gum-arabic  and  sufficient  alum  in  solution,  mixed  and 
put  into  the  slip  or  soft  plaster,  will  make  the  cast  so  hard  that 
it  can  be  set  as  a  panel  in  a  cabinet. 

The  dead  white  of  plaster-casts  is  frequently  objected  to 
when  they  are  wanted  for  ornaments  ;  but  that  difficulty  is 

-  easily  overcome  by  mixing  dry 
colors  with  the  plaster  before 
wetting  it. 

A  small  quantity  of  yellow 
ochre  will  make  the  plaster 
creamy  or  ivory-like  ;  brown  will 
give  a  wood  color,  and  red  a 
terra-cotta. 

*""»-. jii,ii!:«w.^n0 ^ty*g£j~*' -^.  Plaster-casts   can  also  be 

''^//  ^^o.    \  t      ''/^  bronzed  with  gold,  red,  or  green 

bronze,  which  makes  quite  hand- 
some ornaments  of  them.  A  plaster  panel  in  bass-relief, 
bronzed  with  gold  bronze  and  mounted  on  black  or  dark- 
colored  velvet,  is  an  exceedingly  rich  wall  decoration. 

To  mount  a  panel  of  this  kind  you  must  first  secure  a  smooth, 
flat  piece  of  board,  not  more  than  half  an  inch  thick,  and  just 
large  enough  to  allow  about  four  inches  of  the  background  to 
show  all  around  the  panel  when  it  is  mounted.  Cover  the  board 
with  velvet  or  velveteen,  bringing  it  smoothly  over  the  edges, 
and  tacking  it  down  at  the  back.  Fasten  on  it  a  small  brass 
hook.  Fig.  171  is  the  best  kind  to  use,  which  is  tacked  to  the 
board  with  small,  brass  tacks. 


How  to  Make  Plaster  Casts. 


271 


Make  a  ring  or  loop  for  hanging  the  panel  in  this  way  : 
Take  a  piece  of  wire  about  three  inches  long,  form  a  small 

loop  in  the  middle,  and  give  the  wire  several  twists  ;  then  bend 

the  ends  out  on  each  side. 

Scrape  a   narrow  place  in  the   top   edge   of  the  panel,  just 

long  enough  to  admit  the  wire,  and  about  half  an  inch   deep  ; 

then  place  the  wire  in  this  little  ditch  and  fill  up  the  hole  to  the 

top  with  soft  plaster.     When  this  hardens  the  ring  will  be  quite 

secure.     Fig.  172. 


CHAPTER    XXVI. 
CHINA   PAINTING. 

ERTAINLY  you  can  paint  on  china  ;  have 
confidence,  and  do  not  hesitate  because  you 
may  never  have  studied  art,  but  select  the 
china  you  wish  to  decorate  and  we  will  go 
to  work.  First,  take  what  is  needed  for 
present  use  from  the  following 

List  of  Materials. 

PALETTE. 

A  common  square,  white  china  tile  is  the  best  palette  for 
mineral  colors  ;  but  in  case  you  have  no  tile,  an  old  white  plate 
will  answer  the  purpose. 

BRUSHES. 

These  are  of  camel's-hair,  Figs.  173  and  174,  are  broad  and 
flat,  and  are  used  in  placing  the  color  on  the  china  when  the  sur- 
face is  to  be  tinted.  Fig.  175  is  for  blending  the  color  after  it  is 
on  the  china  ;  it  is  called  a  blender,  and  is  useful  where  borders 
and  surfaces  are  to  be  tinted.  Figs.  176  and  178  are  for  gen- 
eral use.  Fig.  177,  with  its  long,  slender  point,  is  for  gilding, 
another  similar  brush  is  needed  for  India-ink.  Mark  the  two 
brushes  in  some  way  to  distinguish  them  one  from  the  other, 
and  never  use  either  for  any  paint  except  that  for  which  it  is 


China  Painting. 


273 


intended.  Fig.  179  is  a  stipple  for  blending  the  colors  when 
painting  a  face,  a  fish,  the  sky  of  a  landscape,  or  wherever 
delicate,  fine  blending  is  needed. 

To  clean  the  brushes  after  using  :  dip  them  in  turpentine 
and  wipe  off  the  paint  on  a  cotton  cloth,  repeating  the  opera- 
tion until  the  brushes  are  perfectly  clean  ;  then  dip  them  in  fat 
oil,  and  bring  them  out  smooth  to  a  fine  point.  Do  not  allow 
the  brushes  to  become  bent  over,  if  the  box  is  not  long  enough 


Brushes  for  China  Painting  (about  one-half  actual  size). 

for  them  to  lie  out  straight,  remove  the  quills  from  the  wooden 
handles  and  they  can  easily  be  replaced  when  needed.  Should 
the  brushes  seem  a  little  stiff  at  the  next  painting,  immerse 
them  in  turpentine  ;  this  will  make  them  soft  and  pliable. 

To  save  the  expensive  gold  paint,  the  gilder  should  be  kept 
exclusively  for  gilding,  and  need  not  be  cleaned,  as  it  will  not 
be  injured  if  the  hairs  are  carefully  straightened  out  and  the 
brush  put  away  with  the  gold. 

KNIVES. 

Fig.  1 80  is  a  horn  palette-knife  for  mixing  Lacroix  white, 
the  yellows,  and  all  such  colors  as  are  injured  by  contact  with 

18 


274 


Autumn. 


metal.  It  is  the  only  knife  used  with  the  mat  paints  for  Royal 
Worcester  decoration.  Fig.  181  is  a  steel  palette-knife  for  gen- 
eral use.  Fig.  182  is  a  steel  scraper 
for  removing  paint  from  the  china 
when  necessary.  Always  clean  the 
knives  after  mixing  one  color,  be- 
fore using  them  for  another. 

PAD. 

This  is  made  of  a  ball  of  cotton 
tied  in  a  piece  of  soft  lining-silk, 
fine  linen,  or  cotton-cloth  (Fig.  183) 
and  is  used  for  tinting. 

THE   PAINTS 

are  Lacroix's  colors  ;  they  come  in 
tubes  and  should  be  squeezed  out  on 
the  palette  and  used  as  in  oil  paint- 
ing, with  a  little  turpentine  and  fat 
oil  when  desired.  To  moisten  the 
colors  while 

painting  dip  your  brush,  carefully,  with- 
out shaking  or  moving  it  around,  into  the 
turpentine  or  oil,  and  then  in  the  color. 
Allow  the  paint  to  lie  on  the  palette  as  it 
comes  from  the  tube,  except  when  two 
colors  are  mixed,  or  when  using  the  stip- 
ple for  blending  one  tint  with  another,  or 
when  tinting,  then  the  paint  must  be  mixed 
and  rubbed  down  with  oil  and  turpentine. 
Keep  the  colors  in  a  cool  place,  and  when 
returning  them  to  the  box,  after  you  have  finished  painting,  do 
not  lay  them  back  on  the  same  side.  Always  remember  to 


Horn  Palette-     Steel  Palette-     Steel 
knife.  knife.  Scraper, 

(Reduced  sizes.) 


Printer's  Pad. 


China  Painting.  275 


turn  them  over  so  that  the  color  will  not  separate  from  the  oil. 
If  you  are  careful  and  follow  these  hints,  your  colors  will  keep 
in  a  good  condition.  We  would  advise  you  to  purchase  the 
paints  as  they  are  needed,  thereby  avoiding  all  unnecessary 
expenditure. 

OILS. 

Fat  oil  is  for  general  use  in  painting.  Clove  oil  is  used  in 
its  place  when  two  or  more  tints  are  to  be  blended  together,  as 
in  painting  a  face,  etc.  Capavia  oil  is  always  mixed  with  the 
colors  for  grounding. 

TURPENTINE 

is  in  constant  demand  in  china  painting.  It  is  used  with  all  the 
different  oils,  paints,  bronzes,  and  gilt,  and  should  be  poured  in 
a  small  cup  or  any  little  vessel,  and  kept  convenient  while  paint- 
ing. 

TAR   PASTE 

comes  in  bottles,  and  is  used  to  take  the  color  off  of  tinted  back- 
grounds, in  order  to  leave  a  clean  surface  of  the  china  in  which 
to  paint  the  design  in  different  colors.  The  paste  should  be 
rubbed  down  smooth  on  the  tile  with  the  palette-knife  ;  if  it  is 
too  hard,  a  little  tar  oil  may  be  added.  A  small  brush  is  best 
to  use  for  the  paste  in  covering  the  design  you  wish  to  wash 
out ;  but  be  very  careful  to  keep  within  the  outlines,  for  this 
mixture  will  take  off  the  color  wherever  it  touches.  When  the 
tint  is  light  the  paste  may  be  wiped  off  in  a  few  moments  ;  but 
when  it  is  dark,  the  paste  must  be  allowed  to  remain  on  for 
perhaps  hours  before  the  paint  will  be  sufficiently  softened  to 
remove. 

Use  small  balls  of  raw  cotton-batting  in  wiping  off  the  paste, 
and  take  a  fresh  piece  for  every  stroke.  If  any  of  the  tar  paste 
is  left  on  the  tile  after  using,  scrape  it  off  with  your  palette- 
knife,  and  return  it  to  the  bottle. 


276  Autumn. 


MAT   GOLD 

is  for  gilding,  and  can  be  either  burnished  or  highly  polished. 
It  comes  on  a  little  square  of  glass  inclosed  in  a  box.  This 
gold  can  also  be  used  as  solid  ornamentation  or  for  delicate 
tracery,  and  is  sometimes  used  over  colors,  greens  except- 
ed,  but  is  then  never  so  bright  as  when  on  the  plain  white 
china. 

The  gold  is  prepared  for  painting  on  a  tile  kept  expressly  for 
the  purpose,  and  which  must  not  be  used  for  any  other  paint. 
Place  some  of  the  gold  on  the  palette  with  your  palette-knife, 
and  mix  a  little  turpentine  with  it  by  dipping  your  palette- 
knife  in  the  turpentine  and  rubbing  down  the  gold  with  the 
turpentine  on  the  knife.  If  more  is  needed,  again  dip  your  knife 
in  the  liquid,  and  do  so  as  often  as  it  is  necessary  ;  but  you  must 
use  the  utmost  care  not  to  have  the  gold  too  thin  ;  gild  with  it 
as  stiff  as  it  can  be  smoothly  applied. 

Should  any  gold  remain  on  the  palette  after  the  gilding  is 
finished,  mix  in  a  little  turpentine  and  scrape  it  all  up  with 
your  palette-knife,  then  replace  the  gold  on  the  square  of 
glass. 

Silver  is  used  the  same  as  gold. 

The  bronzes  are  for  handles  and  conventional  flowers  or 
figures  ;  they  are  rich  and  pleasing  in  effect. 

PURE   GOLD 

cannot  be  employed  for  gilding  plain  white  china.  It  also 
comes  on  a  little  square  of  glass  and  is  used  for  gilding  over 
colors.  It  can  be  applied  over  any  mineral  paint  or  relief,  and 
may  be  polished  or  burnished  as  desired. 

This  gold  is  mixed  with  turpentine,  for  use  in  the  same  man- 
ner as  mat  gold. 


China  Painting.  277 


RELIEF. 

The  best  is  mat  relief,  which  comes  in  a  powder,  and  is  used 
for  both  tube  and  mat  colors.  It  is  prepared  by  mixing  with  a 
very  little  fat  oil  and  turpentine,  and  should  be  applied  stiff 
enough  to  make  a  raised  line.  It  is  useful  where  a  small  raised 
surface  is  desired,  as  on  the  edge  of  a  leaf  or  the  petals  of 
flowers.  A  fish-net  is  much  more  effective  if  the  gilt  be  put 
on  over  the  relief.  Should  the  relief  dry  and  become  too  stiff 
while  using,  soften  it  from  time  to  time  with  a  little  turpentine, 
always  using  the  horn  knife  for  mixing,  as  the  steel  knife  should 
never  be  used  with  the  relief,  and  the  relief  must  always  be 
fired  before  the  gilt  is*applied. 

Enamel  white  can  be  mixed  with  delicate  tints,  turpentine, 
and  a  very  little  fat  oil  for  raised  flowers  ;  or  the  white  alone 
may  be  used  for  pearls,  imitation  of  lace,  or  embroidery,  but  its 
use  is  limited  and  it  will  not  stand  two  firings,  so  should  always 
be  the  last  paint  applied. 

MAT   COLORS 

are  for  Royal  Worcester  decorations.  They  come  in  powders, 
and  when  mixed  with  a  little  oil  and  turpentine  are  used  in  the 
same  way  as  the  Lacroix  tube  paints. 

BOX   FOR   MATERIALS. 

Select  a  light  wooden  box,  or  one  of  strong  pasteboard  ; 
have  the  box  of  a  convenient  size  to  contain  all  your  painting 
materials. 

PIECES   OF   SOFT,  OLD    MUSLIN, 

torn  in  different  sizes,  and  plenty  of  them,  are  very  essential  for 
cleaning  brushes  and  rubbing  paint  off  the  tile  or  china;  the 
demand  for  clean  pieces  will  be  constant  while  painting. 


278  Autumn. 


CHINA. 

Have  this  of  the  very  finest  French  ware,  without  spots  or 
other  imperfections  of  the  surface,  and  never  attempt  to  decorate 
china  after  it  has  been  used,  for  it  seldom  proves  satisfactory. 

A  Monochrome  Painting. 

For  this  we  will  need  a  tile,  a  pad,  a  broad  flat  brush  (Fig. 
173),  some  turpentine,  capavia,  two  tubes  of  paint — one  copper- 
water  green,  the  other  brown  green — a  palette-knife,  and  some 
pieces  of  cotton  cloth.  Now  be  sure  your  china  is  perfectly 
clean  and  dry,  then  mix  your  copper-water  green  for 

Tinting. 

Place  enough  color  on  your  palette  to  cover  the  entire  sur- 
face to  be  tinted ;  dip  your  palette-knife  in  the  capavia  oil  and 
tap  it  off  the  knife  on  the  tile  ;  in  the  same  way  place  turpentine 
on  the  tile  with  the  oil,  and  use  your  palette-knife  to  thoroughly 
mix  the  paint,  oil,  and  turpentine.  If  the  mixture  seems  too 
stiff  add  a  little  more  oil  and  turpentine,  but  be  careful  not  to 
have  the  paint  too  thin  so  that  it  will  run ;  test  its  consistency 
with  a  brush  on  a  clean  place  on  the  tile. 

As  a  rule,  the  proportions  for  tinting  should  be  five  drops 
of  paint  to  three  of  capavia,  mixed  with  a  little  turpentine. 

The  paint  being  prepared,  take  the  flat  brush  and  begin  to 
paint  ;  rapidly  cover  the  entire  surface  with  color.  Then  go 
over  the  tinting  with  a  pad,  touching  lightly  and  gently,  not 
letting  the  pad  rest  a  moment  on  the  paint,  nor  touching  it 
twice  in  the  same  place  in  succession.  Continue  going  over  and 
over  it  until  the  grounding  is  even  and  of  a  uniform  tint. 
Then  set  the  china  away  to  dry,  in  a  safe  place,  where  it  will  be 


China  Painting.  279 


free  from  dust.  Always  make  a  fresh  pad  every  time  you  tint, 
and  a  separate  one  for  each  color  used,  as  a  pad  cannot  do 
service  more  than  once. 

All  tinted  grounds  and  borders  are  made  in  this  way,  the 
capavia  oil  and  turpentine  being  mixed  with  any  of  the  ground- 
ing colors  you  may  wish  to  use.  Tinting  is  very  easily  and 
quickly  done  ;  but  should  anything  happen  to  spot  or  mar 
the  evenness  of  the  grounding,  the  paint  must  all  be  washed  off 
with  turpentine,  and  the  china  tinted  over  again. 

When  your  green-tinted  china  is  perfectly  dry,  gather 
some  maple  leaves  and  with  the  brown-green  paint  try  a 

New  Method  of  Decorating  China. 

The  leaves  must  be  free  from  dust  and  moisture  and  per- 
fectly fresh.  Place  a  small  quantity  of  paint  on  the  palette,  do 
not  mix  the  paint  with  oil  or  turpentine,  but  rub  it  down  well 
on  the  tile  as  it  comes  from  the  tube  ;  make  the  paint  perfectly 
smooth,  now  press  a  small  clean  pad  down  lightly,  lifting  and 
again  pressing  until  the  paint  is  smoothly  distributed  on  the  pad ; 
next  select  a  leaf  and  place  it  face  or  right  side  downward  on  a 
piece  of  folded  newspaper,  then  press  the  pad  down  on  the 
under  side  of  the  leaf,  which  is  now  lying  upward,  repeating 
the  operation  until  the  leaf  is  sufficiently  covered  with  paint. 
This  done,  carefully  place  the  leaf  painted  side  downward  on  the 
china,  over  it  lay  a  piece  of  common  wrapping-paper,  and  rub 
your  finger  gently  all  over  the  covered  leaf.  Then  remove  the 
outside  paper  and  very  carefully  take  up  the  leaf,  when  an 
exact  impress  of  the  natural  leaf  will  be  printed  on  the  china. 
Repeat  the  operation  with  another  leaf  either  larger  or  smaller, 
and  still  another,  using  as  many  as  you  wish  ;  connect  the  leaves 
to  a  central  branch  by  making  the  stems  and  branch  in  the 
same  color  with  a  small  paint-brush.  To  do  this  paint  a  long  line 


280  Autumn. 


for  the  branch  and  other  smaller  ones  for  the  stems  of  the 
leaves.  Set  the  china  away  to  dry,  and  it  will  be  ready  for 
firing.  Very  pretty  effects  may  be  secured  by  using  two  shades 
of  one  color  for  the  tinting  and  designs.  First  tint  the  china, 
and  when  it  is  perfectly  dry,  ornament  it  with  the  same  paint  in 
the  manner  described,  making  the  ground  of  a  lighter  tint  than 
the  decorations.  The  colors  of  fall  leaves  can  be  used  on  white 
china,  or  you  may  make  the  combinations  and  designs  of  what- 
ever is  most  pleasing. 

It  is  well  to  have  some  idea  of  what  your  decoration  is  to  be 
like  before  commencing  with  the  leaves.  If  you  desire  a  spray, 
try  to  place  the  leaves  as  they  are  on  the  natural  spray,  or  as 
represented  in  some  picture  taken  for  a  guide.  The  prints  also 
look  well  used  in  a  conventional  style.  As  any  kind  of  leaves 
or  grasses  that  will  print  can  be  employed,  your  decorations 
will  always  be  original  and  true  to  nature. 

Flowers  are  more  difficult  to  print,  yet  when  the  impressions 
are  successful  they  are  very  beautiful. 

You  will  find  this  new  idea  an  interesting  method  of  orna- 
menting china,  while  the  decorations  may  be  made  in  much  less 
time  than  is  usually  required.  The  style  is  suitable  for  dinner- 
sets,  vases,  tiles,  plaques,  and  lamps,  and  it  requires  no  knowl- 
edge of  drawing  or  painting  to  decorate  china  in  this  simple  yet 
effective  manner. 

Tracing. 

Lay  a  piece  of  tracing-paper  over  the  design  to  be  copied 
and  trace  the  outlines  very  carefully  with  a  hard  lead-pencil. 
Then  have  your  china  perfectly  clean  and  dry,  and  give  it  a 
wash  all  over  with  a  clean  cotton  cloth  wet  with  clear  turpentine. 
Place  a  piece  of  red  transfer-paper  on  the  china,  and  having  de- 
termined exactly  where  you  wish  the  design,  lay  the  tracing- 
paper  over  the  transfer-paper  on  the  space  for  decoration.  Use 


China  Painting.  281 


bits  of  gummed  paper  on  the  corners  of  the  transfer-  and  trac- 
ing-paper to  hold  them  in  place,  and  carefully  go  over  the  lines 
with  a  lead-pencil,  remove  the  papers,  and  the  design  will  be 
clearly  outlined  on  the  ware.  Now  rub  a  little  India-ink  on  a 
common  individual  butter-plate  of  white  china,  and  using  a  fine 
brush,  very  carefully  paint  over  the  red  marks  with  the  India- 
ink,  making  your  lines  as  distinct  and  delicate  as  possible. 
When  this  is  finished,  again  wash  the  china  with  turpentine  to 
remove  any  of  the  red  coloring  which  may  be  apparent  on  its 
surface.  Thus  prepared  the  design  can  be  painted,  or  the  china 
may  first  be  tinted  and  allowed  to  dry,  when  the  outlines  will 
be  plainly  visible  through  the  tinting,  and-  the  color  can  be  re- 
moved from  the  design  with  tar  paste.  Use  the  scraper  to  take 
the  grounding  off  of  minute  spaces.  For  those  skilled  in  draw- 
ing it  will  not  be  necessary  to  trace  the  design,  as  it  can  readily 
be  sketched  on  the  china  with  a  lead-pencil  after  the  ware  has 
first  received  a  coat  of  turpentine,  and  when  tinted  the  decora- 
tion can  be  drawn  on  after  the  grounding  has  thoroughly  dried, 
and  the  color  may  be  removed  as  before. 

Mottled  Grounds. 

Prepare  the  paint  as  for  tinting,  only  make  it  more  moist, 
and  dab  it  lightly  over  the  china  by  means  of  a  piece  of  cotton 
cloth  on  the  end  of  your  finger  ;  this  will  give  the  china  a  mot- 
tled appearance  which  in  some  cases  is  preferred  to  the  plain 
grounding. 

Snow  Landscape. 

We  will  take  for  example  Fig.  184. 

After  tracing  the  design,  paint  a  streak  across  the  sky,  just 
back  and  a  little  above  the  trees,  with  carnation  No.  I  mixed 
with  clove  oil  and  turpentine,  then  another  narrow  streak  above 


282  Autumn. 


it  of  a  lighter  shade,  and  another  still  lighter  of  the  same  color, 
allowing  each  tint  to  meet.  Next  mix  light  sky-blue  with  clove 
oil  and  turpentine,  and  paint  as  deep  a  tint  as  it  will  make 
across  the  sky  at  the  top  of  the  plate,  graduating  it  down  to  the 


my.  184- 


red  ;  use  the  stipple  immediately  while  the  paint  is  wet  to  blend 
the  colors  and  tints  ;  this  finished,  make  the  reflections  on  the 
ice,  beginning  with  carnation  No.  I  for  the  ice  nearest  the  castle, 
and  ending  near  the  bottom  of  the  plate  with  the  deepest  shade 
of  light  sky-blue,  using  the  colors  mixed  for  the  sky.  Paint  the 


China  Painting.  283 


foliage  in  the  background  with  neutral  gray  and  sky-blue  mixed 
with  turpentine  and  fat  oil  for  the  darker  tones,  and  turquoise- 
blue  with  neutral  gray,  turpentine  and  fat  oil  for  the  lighter 
parts,  also  for  shading  the  darker  portions  of  the  snow.  Then 
take  brown  No.  4  as  it  comes  from  the  tube,  with  a  little  tur- 
pentine when  necessary,  for  the  shading  of  the  trees  in  the  fore- 
ground, the  outlining  of  the  castle,  and  the  tufts  of  grass  and 
edges  of  the  ice  in  places  where  the  copy  requires  it. 

Leave  the  white  china  for  the  high  lights  and  the  white 
snow  on  the  roof  of  the  castle,  on  the  trees,  and  here  and 
there  on  the  ground. 

Paint  the  castle  with  neutral  gray  and  yellow  ochre  mixed 
with  turpentine  and  fat  oil,  and  its  windows  with  brown  No. 
4,  using  the  color  as  it  comes  from  the  tube.  Now  allow 
the  plate  to  dry  and  then  have  it  fired,  after  which  mix  car- 
nation No.  I  with  clove  oil  and  turpentine,  and  touch  up  the 
sky  and  reflections  on  the  ice,  using  the  stipple  if  necessary ; 
then  mix  light  sky-blue  with  clove  oil  and  turpentine  and  paint 
the  sky  where  that  color  is  required  and  the  light  shadows  on 
the  snow  ;  then  take  yellow  ochre  for  portions  of  the  trees, 
places  in  the  foreground,  and  touching  up  the  castle  ;  mix  this 
color  with  fat-oil  and  turpentine. 

Again  strengthen  the  trees  and  other  places,  where  the  paint- 
ing requires  it,  with  Lrown  No.  4,  unmixed,  except  with  a  little 
turpentine  when  necessary  ;  for  the  last  touches  mix  relief-white 
with  fat  oil  and  clean  turpentine,  using  the  horn-palette  knife 
always  when  mixing  the  white  ;  this  is  to  be  laid  on,  in  little 
raised  places,  where  the  snow  is  whitest  on  the  ground  and 
where  the  snow  has  lodged  in  the  trees. 

Now  inclose  the  snow  scene  with  a  gilt  band,  using  the 
stipple  to  make  an  uneven  edge  of  gilt  on  the  surrounding 
white  rim  ;  the  gold  next  to  the  picture  must  be  perfectly 
smooth  and  even  ;  put  this  on  with  your  fine  long-haired  brush  ; 


284 


Autumn. 


then  make  a  similar  band  on  the  edge  of  the  plate  and  it  will 
be  finished  and  ready  for  its  last  firing. 

Almost  any  snow  landscape  with  a  sunset  sky  may  be 
painted  in  this  way. 

Often  you  can  find  Christmas  cards  which  will  furnish  very 
good  copies 


How  to  Paint  a  Head  on  China. 

Select  a  pretty  copy  from  some  photograph,  as  in  Fig. 
185  ;  very  carefully  trace  the  head  on  a  plate  and  go  over  the 
lines  with  Indian  ink ;  next  give  the  plate  another  wash  with 


China  Painting.  285 


turpentine,  to  remove  all  remains  of  the  color  from  the  transfer- 
paper  ;  then  mix  thoroughly  two  parts  of  carnation  No.  2  with 
one  part  of  ivory-yellow,  adding  a  little  turpentine  and  clove 
oil ;  give  the  face  and  neck  a  wash  with  this  color  and  touch 
up  the  cheeks  with  carnation  No.  I  mixed  with  clove  oil  and 
turpentine  ;  now  lay  on  the  shadows  with  neutral  gray,  five 
parts,  mixed  with  deep  chrome-green,  one  part,  using  clove  oil 
and  turpentine  in  mixing  the  colors  ;  last,  the  deepest  shadows 
with  brown  No.  4,  two  parts,  to  one  of  ivory-black,  mixed  to- 
gether with  clove  oil  and  turpentine,  and  immediately  before  any 
of  the  paint  dries  use  the  stipple  to  blend  the  colors,  making  the 
face  round  out  and  have  the  blending  soft  and  true  to  nature  ; 
set  your  copy  before  you  and  try  to  have  the  shadows  on  the 
face  you  paint  correspond  exactly  with  those  in  the  copy. 

Now  leave  the  face  and  neck,  and  place  some  brown  No.  4 
on  the  tile  ;  do  not  mix  it  with  anything  ;  use  it  as  it  comes 
from  the  tube,  dipping  your  brush  in  turpentine  when  it  becomes 
necessary  to  thin  the  paint  a  little  ;  with  this  paint  the  shading 
of  the  hair  and  follow  with  your  brush,  as  nearly  as  possible,  the 
sway  of  the  masses.  That  finished,  paint  the  eyes,  eyebrows, 
and  nostrils  with  brown  No.  4  and  ivory-black  mixed  together 
as  they  come  from  the  tubes,  using  when  necessary  a  little 
turpentine  ;  then  mix  a  little  carnation  No.  I  with  fat  oil  for 
the  lips.  Next  turn  your  attention  to  the  drapery  ;  shade  the 
white  material  with  gray  No.  I,  unmixed,  and  gray  No.  2  for 
the  deeper  shadows,  mixed  with  fat  oil  and  turpentine. 

For  the  handkerchief  on  the  head  mix  emerald-green  with 
fat-oil  and  turpentine  ;  put  it  on  in  a  light  tint,  so  that  the  hand- 
kerchief can  be  shaded,  when  dry,  with  the  same  color. 

When  the  plate  is  dry,  it  is  ready  to  be  fired.  After  it  has 
been  fired  touch  up  the  shading  on  the  face  and  neck  with  two 
parts  of  carnation  No.  2  mixed  with  one  of  brown  No.  4,  using 
clove  oil  and  turpentine  while  mixing;  and  for  the  deepest  shad- 


286  Aittumn. 


ows  mix  two  parts  of  brown  and  one  of  ivory-black  together  with 
clove  oil  and  turpentine.  This  must  be  put  on  carefully,  so  that 
the  shadows  will  not  be  too  dark.  Use  the  stipple  to  blend  the 
shadows  ;  then  give  the  hair  a  wash  of  yellow  ochre  all  over,  and 
touch  up  the  handkerchief  on  the  head  with  emerald  green,  the 
same  you  used  before. 

For  the  background  of  the  head  mix  light  coffee,  turpen- 
tine, and  capavia  oil  ;  make  it  an  even  tint  with  the  blender 
(Fig.  175);  the  brush  must  be  clean  and  dry,  and  used  in  the 
same  manner  as  the  pad  in  tinting,  then,  for  the  outer  border, 
mix  celestial-blue  with  capavia  and  turpentine,  and  with  your 
large  flat  brush  paint  the  border  and  blend  it  to  an  even  tint 
with  your  pad.  When  this  is  finished  wipe  off  the  paint  around 
the  edge  as  evenly  as  possible,  so  that  the  bare  china  may  be 
left  to  receive  a  band  of  gold.  Roll  up  a  piece  of  white  cotton 
cloth  into  a  small  point  and  with  this  remove  the  paint  around 
the  inner  edge  of  the  blue  border,  making  an  even  narrow 
white  band  ;  this  is  also  to  be  gilded. 

On  a  clean  tile  mix  the  mat  gold  with  turpentine,  and 
using  the  slender,  fine,  long-haired  brush,  carefully  cover  the 
white  bands  of  china  with  gold  ;  when  this  is  finished  the  plate 
is  ready  for  the  second  and  last  firing.  If  a  fairer  complexion  be 
desired,  make  the  flesh-tints  of  the  same  colors,  only  lighter  in 
tint ;  try  the  paint  on  the  edge  of  the  tile  until  the  tint  is  correct. 
Always  try  your  colors  this  way  when  painting  any  design.  For 
blue  eyes  use  sky-blue  shaded  with  black  ;  the  high  light  of  the 
eye  may  be  left  the  white  of  the  china.  If  you  wish  the  hair- 
very  light,  take  ivory-yellow  and  shade  with  sepia  and  black. 

Once  more  we  say,  be  very  careful  in  tracing  not  to  get 
the  head  or  features  out  of  drawing,  as  so  much  depends  upon 
the  correct  outlines.  Before  sending  china  to  be  fired,  paint  in 
small  figures  the  date  on  which  it  was  decorated  and  add  your 
name  or  initials. 


China  Painting.  287 


How  to  Paint  a  Carp,  Sea-weed,  and  Fish-net  on  China. 

Having  traced  in  your  design  very  carefully,  mix  one  part 
of  neutral  gray  with  two  parts  of  sky-blue,  some  clove  oil,  and 
turpentine  ;  with  this  paint  the  upper  edge  of  the  back  of  the 
fish  dark,  graduating  to  white  along  near  the  centre  of  the  fish  ; 
stipple  this  so  that  it  will  look  even,  soft,  and  rounding,  keeping 
it  dark  on  the  edge  and  tinting  down  to  the  white  china  ;  paint 
the  tail  and  dorsal  fins  a  flat  tint  of  gray  No.  2  mixed  with  fat 
oil  and  turpentine  ;  then  mix  carnation  No.  2  with  fat  oil  and 
turpentine  for  a  flat  tint  on  gills,  mouth,  and  ventral  fin  ;  shade 
the  mouth  with  the  same  color  and  paint  the  anal  and  pectoral 
fins  a  flat  tint  of  car- 
nation No.  2  mixed 
with  sepia  ;  when  dry 
shade  with  the  same 
color,  and  also  shade 
the  gills  and  fins 
painted  carnation  / 

with  carnation,  and 
the  dorsal  fins  and  tail  shade  with  ivory-black  mixed  with  fat 
oil  and  turpentine  ;  try  the  paint  with  your  brush  until  you 
get  rather  a  gray  tint  instead  of  black,  and  use  this  for  the 
shading  ;  now  paint  the  rows  of  spots  along  the  back  of  the  fish 
ivory-black,  making  the  dots  smaller  as  they  approach  the  tail ; 
and  with  your  eraser  take  the  paint  off  of  the  eye,  leaving  a 
clean  white  spot  of  china  ;  paint  a  fine  circle  around  this  in 
ivory-black  ;  then  paint  a  portion  of  the  eye  black,  leaving  the 
white  china  for  the  high  lights  ;  in  painting  the  scales  and 
lower  part  of  the  fish  use  gray  No.  I  as  it  comes  from  the  tube, 
mark  an  outline  of  gray  along  the  lower  edge  of  the  fish  and 
stipple  it  off  in  the  white,  remembering  this  gray  must  occupy 
only  a  narrow  line  along  the  lower  edge  of  the  fish. 


288 


Autumn. 


Commence  to  mark  the  scales  in  gray  No.  I  by  making  a 
line  of  them  with  a  fine-pointed  brush  downward  across  the 
body  of  the  fish  (Fig.  186)  and  this  will  be  a  guide  to  build  out 
from  (Fig.  187) ;  after  the  painting  has  thoroughly  dried  begin 
again  by  marking,  on  the  head  and  around  the  eye,  the  tiny 
scales  in  gray  No.  2,  with  a  little  fat  oil  and  turpentine,  and  paint 
a  line  along  the  upper  edge  of  the  head  and  back  with  brown 
No.  4,  and  another  lighter  line  of  the  same  color  along  the  back 
just  below  and  adjoining  the  first  one  ;  paint  the  eye  and 
markings  on  the  head  brown  and  strengthen  the  tail  and  dor- 
sal fins  with  gray  No.  2;  touch  up  around  the  gills  with  sky 
blue,  also  with  yellow  ochre  where  the  copy  requires  it.  Then 

turn  your  attention 
to  the  sea-weeds  ; 
mark  the  thread-like 
branches  of  these  in 
different  colors,  using 
carnation,  brown  No. 
4>  gray  No.  2,  and 
brown-green  ;  paint 
each  weed  in  one  color,  place  the  sea-weeds  on  one  side  or 
corner  of  the  plate,  making  them  branch  out  this  way  and  that, 
as  in  nature.  Now  clean  off  your  palette  and  mix  some  mat 
relief  for  the  fish-net,  which  is  to  be  placed  over  and  across  a 
portion  of  the  plate  ;  with  a  lead-pencil  mark  the  netting  on 
the  plate,  but  do  not  touch  the  fish  ;  then  with  a  very  fine 
brush  follow  the  markings  with  the  relief,  when  it  is  necessary 
to  paint  across  the  fish,  your  eye  and  the  copy  must  be  your 
guides,  as  it  would  take  the  paint  off  the  fish  to  attempt  any 
marking  on  it.  The  relief  on  the  fish  cannot  be  altered,  so  be 
careful  to  have  it  correct  the  first  time.  Should  the  line  of  re- 
lief be  too  broad  in  other  places,  remove  it  with  your  scraper 
and  make  another  trial.  When  the  plate  is  perfectly  dry  it 


China  Painting.  289 


must  be  fired,  after  which  put  in  a  background  of  warm  gray 
mixed  with  capavia  and  turpentine  ;  bring  this  to  an  even  tint 
with  the  blender,  and  if  any  paint  blends  over  on  the  fish  wipe 
it  off  while  the  color  is  damp  ;  also  remove  the  paint  from  the 
netting  and  set  the  china  away  to  allow  the  color  to  thoroughly 
dry  ;  next  paint  broad  sweeps  across  the  plate,  but  not  over 
the  fish,  with  gray  ~No.  2  mixed  with  fat  oil  and  turpentine,  to 
represent  the  different  tints  of  the  water,  and  again  remove  the 
paint  from  the  net  ;  now  touch  up  the  sea-weed  and  the  fish 
where  they  need  strengthening,  then  give  the  fish  a  very  light 
wash  of  gray  No.  I . 

Here  and  there  along  the  upper  edges  of  the  water  colored 
gray  No.  2  make  a  very  fine  line  with  enamel  or  relief-white 
mixed  with  a  little  fat  oil  and  turpentine  ;  gild  the  fish-net,  us- 
ing either  pure  gold  or  mat  gold,  cover  the  relief  carefully  with 
the  gold,  and  put  it  on  thick  but  in  fine  lines  ;  this  accomplished, 
finish  by  gilding  the  edges  of  the  plate  with  mat  gold,  and  when 
dry  send  it  to  be  fired.  To  avoid  mistakes  when  sending  china 
to  be  fired,  state  whether  you  wish  the  gold  burnished,  dull, 
or  polished. 

Foliage  on  China  Made  "With  a  Sponge. 

Prepare  the  paint  with  fat  oil  and  turpentine,  rub  it  down 
smooth,  then  with  a  small  sponge  apply  the  colors,  using  differ- 
ent shades  as  the  first  dry,  and  touching  up  afterward  with  a 
brush  ;  in  this  way  you  can  also  paint  backgrounds  which  can- 
not be  made  with  the  brush. 

Mixing  Colors. 

The  best  way  to  paint  with  safety  when  you  are  in  doubt 
what  colors  will  mix,  is  to   test  them  yourself.      For  this  pur- 
19 


290  Autumn. 


pose  take  a  French  china  plate  and  make  experiments  with 
different  colors  on  the  plate  ;  at  the  same  time  write  down  a 
memorandum  of  the  paints  used  and  of  those  mixed,  have  the 
plate  fired  ;  then  paste  your  memorandum  on  the  back.  Use 
this  for  reference,  and  with  experience  will  come  the  full 
knowledge  of  the  use  of  all  the  paints. 

Royal  'Worcester  Ware 

is  very  delicate  and  dainty  and  something  quite  novel  for  ama- 
teurs in  the  way  of  china  decorations. 

Very  beautiful  pieces  of  this  ware  may  be  seen  now  in  all 
the  leading  china  establishments  in  New  York  City,  and  so 
choice  is  it  that  even  some  of  the  largest  jewelry  stores  have 
rare  Royal  Worcester  vases  among  their  most  valuable  articles 
on  exhibition. 

We  know  of  no  book  that  teaches  this  art  of  decoration,  and 
although  we  have  seen  some  amateur  work  which  only  an  ex- 
pert could  distinguish  from  the  genuine  article  itself,  we  think 
our  exposition  of  the  method  is  the  first  of  its  kind  printed  in 
this  country  ;  and  girls,  if  you  would  know  the  secret,  so  that 
you  also  may  be  able  to  paint  and  gild  in  this  beautiful  fashion, 
you  have  only  to  listen  while  the  writer  tells  how  to  decorate 
a  Royal  Worcester  vase  as  she  did  ;  then  you  will  have  a  practi- 
cable and  detailed  method  which  we  know  to  be  good,  having 
tried  it. 

Select  a  vase  of  the  finest  French  china,  and  be  sure  that  it 
is  perfectly  clean,  dry,  and  free  from  dust.  Then  with  a  clean 
white  cotton  cloth  give  the  vase  a  wash  all  over  with  clear  tur- 
pentine, and  having  chosen  your  design,  make  a  tracing  of  it 
on  the  vase,  and  it  will  be  ready  for  grounding.  Mix  enough 
mat  lemon-yellow  to  cover  the  entire  surface  of  the  vase.  First 
place  a  little  of  the  powder  on  the  tile,  then  dip  your  palette- 


China  Painting. 


291 


knife  in  the  capavia  oil  and  tap  it  off  on  the  tile  ;  in  the  same 
way  drop  turpentine  on  the  tile  with  the  oil.  Use  a  horn  pal- 
ette-knife and  thoroughly  mix  the  paint,  oil,  and  turpentine  ; 
if  the  mixture  seems  too  stiff,  add  a  little  more  oil  and  turpen- 
tine, but  be  careful  not  to  have 
the  paint  too  thin,  so  that  it  will 
run  ;  try  the  paint  with  a  brush 
on  a  clean  place  on  the  tile  to 
see  if  it  is  of  the  right  consistency 
and  shade  ;  do  not  let  the  color 
be  too  intense  ;  it  should  be  of  a 
delicate  tint,  and  if  it  is  too  dark 
add  a  very  little  more  oil.  Take 
a  broad,  flat  brush  and  begin  to 
paint  at  the  top  of  the  vase,  pass- 
ing around  with  short  strokes 
rapidly  over  its  whole  surface  ; 
go  over  the  tinting  with  a  pad, 
touching  lightly  and  gently; 
then  set  the  vase  away  to  dry  in 
a  dry  place  free  from  dust.  The 
Indian-ink  outlines  will  be  plain- 
ly visible  through  the  paint,  and 
when  the  grounding  or  tinting 
has  thoroughly  hardened,  to  re- 
move the  color  from  the  design, 
mix  a  little  of  the  tar  paste  upon 
a  clean  tile  by  working  it  with 
your  palette-knife  until  it  is  smooth.  Use  a  small  brush  and  go 
over  the  design  with  this  mixture,  covering  every  part  except 
the  stems  and  fine  grasses  ;  be  very  careful  not  to  go  outside 
of  the  lines.  When  the  design  is  all  painted  with  the  paste, 
begin  at  that  first  covered  and  wipe  off  the  tar  paste  with  small 


Fig.  188.— Royal  Worcester  Vase. 


292  Autumn. 


pieces  of  cotton  batting  rolled  into  little  balls,  using  a  fresh  wad 
for  each  stroke  ;  clean  it  all  off  carefully  and  the  vase  will  pre- 
sent vacant  white  china  spots  where  the  flowers,  leaves,  and  bird 
are  soon  to  appear.  For  a  guide  we  will  take  Fig.  188.  Now 
mix  a  little  mat  pink  with  fat  oil  and  turpentine  in  the  same  way 
you  prepared  the  grounding  yellow,  only  this  time  fat  oil  takes 
the  place  of  capavia  ;  use  the  horn  palette-knife  as  before  ;  the 
steel  knife  should  never  be  used  with  the  Royal  Worcester 
colors,  as  the  metal  is  apt  to  rub  in  with  the  paint,  dulling  and 
spoiling  the  colors.  Paint  all  the  flowers  a  flat  tint  of  light 
pink.  Always  try  the  color  first  on  the  tile  until  you  have  the 
desired  shade.  By  the  time  all  the  flowers  have  received  their 
tint  of  color,  those  first  painted  will  be  dry  enough  for  shading. 
Observe  attentively  the  copy,  and  notice  where  the  different 
flowers  are  shaded  ;  then  shade  yours  with  the  same  colo.r,  fol- 
lowing as  nearly  as  possible  the  copy  before  you. 

For  painting  the  leaves,  mix  separately  with  turpentine  and 
fat  oil,  mat  light  yellow-green,  mat  dark-green,  and  mat  blue 
green.  These  colors  can  be  used  separately  or  any  two  mixed 
if  desired.  Shade  the  leaves  with  mat  yellow-brown  mixed 
with  the  different  greens.  Paint  the  body  of  the  bird  a  flat  tint 
of  mat  gold-yellow  and  the  top  of  its  head  and  back  green  ; 
the  edges  of  wing  and  tail  and  eye  must  be  of  mat  black. 
When  the  bird  is  dry,  shade  its  breast  with  broad  sweeps  of 
mat  gold-yellow,  according  to  the  copy ;  then  mix  black  with 
yellow-brown  for  the  other  shading  on  the  bird's  breast,  and 
mix  black  with  blue  for  painting  and  shading  the  wings  and 
tail. 

While  the  paint  is  drying  on  the  vase  mix  the  mat  relief  for 
the  raised  edges  of  bird,  flowers,  and  stems.  Mix  the  relief 
with  turpentine  and  fat  oil,  making  it  as  stiff  as  it  can  be  used. 
With  a  very  fine  brush  outline  the  bird,  its  wings,  and  tail ;  also 
a  few  strokes  on  its  breast,  tail,  and  back  ;  be  sure  the  relief  is 


China  Painting.  293 


stiff  enough  to  make  a  fine  raised  line  ;  then  outline  the  flowers 
and  the  stems  ;  the  leaves  are  not  raised  on  the  edges.  When 
this  is  finished  the  vase  is  ready  for  its  first  firing.  Allow  the 
ware  to  become  perfectly  dry  before  sending  it  to  the  firers. 

As  great  care  should  be  taken  with  the  firing  of  royal 
Worcester  china,  send  your  vase  to  the  most  reliable  firers  you 
know  of,  and  when  it  is  fired  and  returned,  all  that  remains  to  be 
done  is  to  carefully  gild  the  vase.  Mix  pure  gold  with  turpen- 
tine, but  do  not  have  it  too  thin,  as  the  gold  should  be  applied 
as  thick  as  possible.  For  fine  gilding  use  a  fine  small  brush  with 
long  hairs;  this  will  make  a  distinct  thread-like  line  ;  first  cover 
all  the  relief  with  the  gold,  next  outline  the  leaves,  veining  them 
if  necessary  ;  then  with  thick  gold  make  your  grasses  accord- 
ing to  the  copy.  When  the  gold  becomes  too  stiff  work  in  a 
little  more  turpentine.  After  you  have  finished  this  gilding, 
mix  some  mat  gold  with  turpentine  and  gild  the  top  rim  of  the 
vase  ;  use  the  small  stipple  brush  cut  off  square  at  the  end 
(Fig.  1/9),  and  bring  the  border  down  unevenly  along  its 
lower  edge,  making  it  the  same  way  on  the  inside  of  the  vase  ; 
then  with  the  fine  long-haired  gilder  cover  the  tipper  edge  of 
the  vase  thick  with  gold.  This  finished,  gild  the  bottom  of  the 
vase  in  like  manner  and  make  the  handle  solid  gilt ;  after  it  is 
all  dry  the  vase  is  ready  for  its  second  and  last  firing,  and 
when  it  returns  again  from  the  firers  you  will  have  a  piece  of 
beautiful  Royal  Worcester  ware  similar  to  that  seen  at  Tiffany's. 

The  mat  colors  used,  remove  all  the  gloss  from  the  china, 
and  when  mat  lemon-yellow  forms  the  grounding,  the  china 
comes  from  the  firing  having  the  appearance  of  beautiful  deco- 
rated ivory  without  any  glaze. 

This  ware  must  be  seen  to  be  appreciated,  and  is  suitable  for 
vases  and  ornaments,  but  the  Royal  Worcester  colors  cannot  be 
used  on  table  china,  for  any  grease  coming  in  contact  with  the 
colors  would  spoil  them. 


294 


Autumn. 


Exquisite  little  vases  of  all  shapes  are  decorated  in  this  man- 
ner ;  the  delicate  gold  tracery  and  outlining  brings  the  designs 
out  effectively.  In  this  style  of  painting  the  decoration  is  more 
conventional,  and  does  not  require  the  same  amount  of  working 
up  and  shading,  but  is  as  a  rule,  treated  simply,  flat  tints  with  a 
little  shading  being  all  that  is  required.  Almost  any  floral  de- 
sign can  be  used  on  royal  Worcester,  when  outlined  with  relief 
and  gold  ;  there  are,  however,  copies  which  come  expressly  for 
the  purpose. 


CHAPTER   XXVII. 
A   CHAPTER   ON   FRAMES. 

'FTER  the  foregoing  chapters  on  drawing  and  paint- 
ing, it  is  surely  our  duty  to  provide  the  means 
of  framing  the  various  pictures  which  we  hope 
will  be  the  result  of  their  teachings.  Un- 
framed,  a  picture  is  apt  to  be  tucked  away  out 
of  sight,  or  it  becomes  rumpled  and  spoiled 
when  left  lying  about,  and  a  picture-frame,  as  a  rule,  is  quite  an 
expensive  article  ;  but  with  a  little  ingenuity  and  good  taste 
almost  any  girl  may  manufacture  frames,  if  not  of  equal  finish, 
at  least  as  durable  and  quite  as  artistic  as  any  the  dealer  can 
produce. 

The  cost  ?  The  cost  is  the  price  of  a  wooden  stretcher  and 
a  bottle  of  gold  paint. 

The  first  sketch  shown  here  (Fig.  189)  will  give  some  idea 
of  the  appearance  of  a  frame  decorated  appropriately  for  a 
marine  picture.  The  articles  necessary  for  this  frame  are  a 
stretcher,  some  rope,  a  piece  of  fish-net,  several  dried  starfish, 
and  gold  paint.  The  stretcher  must  first  be  gilded  ;  then  the 
rope,  upon  which  the  fish-net  has  been  strung,  should  be  fast- 
ened with  small  tacks  around  the  outer  edge,  joining  it  at  the 
corner,  where  the  starfish  will  hide  the  ends.  The  net  must 
be  large  enough  to  drape  gracefully  across  one  corner,  along 
the  top,  and  fall  a  short  distance  down  the  other  side  of  the 
frame.  When  the  starfish,  graduating  in  size,  are  tacked 


296 


Autumn. 


around  the  draped  corner,  and  they,  as  well  as  the  rope  and  net, 
are  given  a  coat  of  gilt,  a  pretty,  unique,  and  substantial  frame 
is  the  result. 

If  starfish  are  not  to  be  had,  sea-shells  may  be  used  instead 
(these  of  course  will  have  to  be  glued  in  place),  and  if  fish-net 


Original  Design — Marine  Picture  Frame. 

is  also  out  of  reach,  a  piece  of  fine   netted  hammock   can  be 
used  as  a  substitute. 

For  the  benefit  of  those  who  spend  their  summers  at  the 
sea-shore  where  such  things  are  obtainable,  I  would  advise  that 
a  small  collection  be  made  of  the  quaint  and  pretty  products 


Chapter  on  Frames. 


297 


of  the  place,  as  they  will  be  found  useful  in  various  ways  for 
decorative  purposes. 

The  next  sketch  (Fig.  190)  shows  a  corner  section  of  frame 
especially  appropriate  for  a  flower  piece.     The  open  lattice-like 

border  is  cut 
with  a  sharp 
penknife  from 
stiffpasteboard 
and  tacked 
along  the  edge 
of  the  frame. 

The  pattern 
shown    in    diagram 
(Fig.  191)  is  simple, 
quite    easily    made, 
and  well  suited  for  a 
border,  though  other  and 
more  elaborate  ones  may 
be  used.     This  border  must, 
of  course,   be   made   in   sec- 
tions.    The  edges  to  be  con- 
nected should  be  cut  to  fit  exact- 
ly, then  after  tacking  them  upon 
the  frame   the   whole   may  be   laid 
j          upon    a    table,    face    downward,    and 
Fig.  i9o.-section  of         strips  of  paper  pasted  across  the  joints 

Decorated  Frame. 

(see  Fig.   192),  which  will  hold  them 
securely    together.       If    the    work    is 

neatly  done,  when  the  gilt  is  applied  all  traces  of  the  joints  will 
disappear.  The  decorations  of  this  frame  consist  of  a  spray  of 
artificial  rosebuds  and  leaves,  gilded  and  tacked  on  the  upper 
left-hand  corner.  A  few  scattered  rosebuds  look  well  upon  the 
lower  part  of  the  frame  near  the  right-hand  side. 


298 


Autumn. 


Section  of  Border  for  Decorated  Frame. 


Figure  193  is  the 
section  of  a  frame 
which  will  look  well  on 
almost  any  kind  of  pict- 
ure. It  is  made  by 

I    /-,.,„/  tacking   a   small    rope 

around  the  inside  edge 

and  then  covering 

it  and  the  frame 
with  crumpled 
tin-foil,  which,  af- 
ter it  is  pressed 
to  fit  the  rope,  is 
brought  around 
and  tacked  on  the 
wrong  side  of  the 
frame,  joining  that  edge  which  is  turned  over  the  top.  Care 
should  be  taken  while  handling  the  tin-foil  not  to  flatten  it,  as 
its  beauty  depends  upon 
its  roughness.  The 
pieces  are  joined  by  sim- 
ply lapping  one  edge 
over  the  other,  the  un- 
even surface  hiding  all 
seams.  This  frame  like 
the  others  must  be  gild- 
ed. 

A  very  effective  rough 
surface  on  a  frame  can  be 
produced  by  dabbing  on 
it  with  a  palette-knife  the 
scrapings  of  the  palette. 

Of  COUrse  this  frame  Can-         fig.  193.— Section  of  Frame  covered  with  Tin-foiL 


Chapter  on  Frames. 


299 


not  be  made  in  a  day,  but  if  every  time  the  palette  is  cleaned 
the  paint  is  used  in  this  way  it  will  not  be  long  before  the  sur- 
face is  covered  and  ready  for  gilding. 

The  cork  paper  used  in  packing  bottles  makes  quite  a  hand- 
some frame  for  black  and  white  pictures  or  photographs  (Fig. 
194).  This  paper  is  sprinkled  all  over  with  small  bits  of  cork, 
making  a  rough  surface  and 
one  admirably  suited  to  the 
purpose. 

First  the  foundation  of  the 
frame  is  cut  of  stiff  pasteboard 
exactly  the  size  and  shape  de- 
sired ;  then  the  cork  paper  is 
cut  the  width  of  the  frame  and 
glued  securely  to  it,  the  cor- 
ners being  joined  as  in  Fig. 
195.  The  frame  is  very  pretty 
when  left  its  natural  color,  as 
it  resembles  carved  wood  at 
a  little  distance,  but  it  can  be 
gilded  if  preferred. 

The  inside  mat  is  made  of 
white  or  gray-tinted  card- 
board, cut  with  the  open 
space  for  the  picture,  from 
half  an  inch  to  an  inch  smaller 
than  the  opening  of  the  frame.  The  mat  is  pasted  to  the  back 
of  the  frame  and  then  the  entire  back  is  covered  with  strong 
paper  pasted  at  the  top  and  two  side  edges,  and  left  open  at 
the  bottom  until  the  picture  is  shoved  in  place,  when  the  lower 
edge  is  fastened  also.  The  mat  will  look  well  if  the  inside 
edge  is  gilded. 

Another  frame  is  made  in  the  same  manner  as  the  one  just 


Cork  Frame. 


300 


Autttmn. 


described,  only  instead  of  using  cork  paper  a  thick  coating  of 
glue  is  put  all  over  the  face  of  the  foundation,  and  sand  or  small 

pebbles  are  sprinkled  over  the  entire 
surface.     This  must  be  quickly  done 
before  the  glue  has  time  to  harden. 
The  writer  has  in  her  possession 


a  pretty  little  winter  landscape  done  in  water-colors. 
It  is  a  snow  scene,  and  its  light  effect  is  well  set  off 
by  the  frame,  which  is  made  simply  of  two  pieces  of 
heavy  brown  strawboard  or  pasteboard.  The  two 
pieces  are  cut  exactly  the  same  size  ;  then  the  centre 
is  cut  out  of  one,  leaving  a  broad  frame  of  equal  width 
on  all  sides.  The  picture  is  placed  between  these  two  boards, 
which  are  then  glued  together.  The  cord  for  hanging  it  is  fast- 
ened to  two  small  brass  rings  which  are  attached  to  pieces  of 
tape  glued  to  the  back  of  the  frame,  as  in  Fig.  196.  Fig.  197 
shows  how  a  piece  of  paper  is  pasted  over  the  tape 
to  hold  it  more  securely. 

When  making  a  frame  of  this  kind  the  picture  to 
be  framed  should  first  be  measured  and  the  width  of 
the  frame  decided  upon  ;  then  cutting 
a  piece  of  paper  the  size  the  open 
space  is  to  be,  or  one-half  inch  smaller 
all  round  than  the  picture,  it  must  be 
laid  upon  the  pasteboard  and  a  mark 
drawn  around  it  showing  its  exact  size 
and  proportion  (Fig.  198).  The  width 
of  the  frame  can  then  be  measured  from 
these  lines,  which  will  place  the  open- 
ing exactly  in  the  centre  (Fig.  199). 
The  lines  must  be  perfectly  straight 

and  the  measurements  correct  or  a  lop-sided  frame  will  be  the 
result. 


A  Chapter  on  Frames. 


301 


In  cutting  out  the  frame  a  sharp  knife  should  be  used,  and 
it  will  be  a  great  help  in  keeping  the  lines  straight  if  a  ruler  is 


fjy.  W9 


held  down  firmly  close  to  the   line   to   be  cut,  and  the   knife 
guided  by  that. 


CHAPTER  XXVIII. 
THANKSGIVING. 

to  Pagan  ancestors  in  far-away  coun- 
tries, but  to  our  own  Pilgrim  Fathers 
do  we  trace  the  origin  of  Thanks- 
giving Day — as  purely  American  as 
our  Independence  Day.  Instituted 
by  William  Bradford,  the  Governor 
of  Plymouth,  and  first  observed  by 
the  Puritans,  who,  suffering  from 
hunger  and  privation,  were  truly 
thankful  when  the  first  harvest 
brought  them  the  means  of  support  for  the  approaching  winter, 
it  has  come  to  us  as  "  the  religious  and  social  festival  that  con- 
verts every  family  mansion  into  a  family  meeting-house." 
The  pleasant  New  England  custom  of  the  gathering  together 
of  families  to  celebrate  Thanksgiving  is  now  observed  in  most 
of  our  States.  From  far  and  near  they  come,  filling  the  cars 
with  merry  family  parties,  who  chatter  away  of  anticipated 
pleasures  to  be  found  in  the  old  home.  Little  children  taught 
to  lisp  grandma  and  grandpa  are  instructed  by  their  mammas 
not  to  be  afraid  of  the  old  gentleman  who  will  meet  them  at 
the  depot,  nor  the  dear  old  lady  who  waits  with  open  arms  at 
the  door  of  grandpa's  house. 

Children  old  enough  to  know  what  a  Thanksgiving  at  grand- 
pa's is  like  are  wild  with  deli-grit  at  the  prospect  before  them. 


Thanksgiving. 


3<>3 


Their  eyes  brighten  at  the  thought  of  the  great  pantry  where 
grandma  keeps  her  doughnuts  and  cookies  ;  of  the  cellar  with 
its  bins  of  sweet  and  juicy  apples  ;  of  the  nuts  and  popcorn,  all 
of  which  taste  so  much  nicer  at  grandma's  than  anywhere  else. 
And  then  what  fun 
the  games  will  be 
which  they  will  play 
with  cousins,  who, 
though  rather  shy  at 
first,  will  soon  make 
friends.  The  lovely 
young  aunties,  too, 
who  help  grandma 
entertain  all  these 
guests,  will  join  in 
the  games  and  sug- 
gest and  carry  out 
schemes  of  amuse- 
ments which  the  chil- 
dren would  never 
think  of. 

What  a  happy 
holiday  it  is,  how  so- 
cial and  pleasant  and 
comfortable  and 
easy  !  How  near  and 
dear  all  the  bright 
faces  gathered  around 
the  long  table  at  the 
Thanksgiving-dinner,  seem  to  be.  Truly,  we  should  all  be 
thankful  that  we  have  a  Thanksgiving. 

However,  this  chapter  is  not  written  merely  to  generalize 
upon  the  pleasures  of  the  day,  but  in  order  that  we  may  ofifer 


One  Little  Indian. 


304 


Autumn. 


Pilgrim's  Spectacles. 


something  new,  in  the  way  of  amusement,  which  will  add  to 

the  fund  of  merriment  on  this  oc- 
casion.    The  series  of 

Impromptu  Burlesque  Tableaux 

illustrating  some  of  the  principal 
events  in  our  history  will  be  ap- 
propriate for  this  national  holiday,  and  will  prove  a  mirth- 
provoking  enter- 
tainment. 

When  two  rooms 
are  connected  by 
folding -doors,  a 
whole  room  may 
be  used  for  the 
stage.  In  this  case 
no  curtains  are 
necessary,  as  the 
doors  take  their 
place,  and,  for  im- 
promptu tableaux, 
answer  very  well. 
When  there  are  no 
such  connecting 
rooms,  one  end  of 
a  large  room  can  be 
curtained  off  with 
sheets,  or  any  kind 
of  drapery,  sus- 
pended from  a  rope  Patterns  of  pilgrim  Father,s  Hat  and  Oollan 
or  wire  stretched 
from  one  wall  to  the  other.  It  is  best  to  keep  the  audience  as 


Thanksgiving. 


305 


far  away  from  this  improvised  stage  as  the  room  will  admit  of, 
for  distance  greatly  assists  the  effect. 


Landing  of  the   Pilgrims. 

TABLEAU  i. — The  good  ship  Mayflower  has  just  touched 
Plymouth  Rock.  Pilgrim  Father  stands  upon  the  rock,  and 
reaches  down  to  help  Pilgrim  Mother 
to  land.  A  number  of  Indians  sit  upon 
the  edge  of  the  rock,  fishing  unconcern- 
edly over  the  side,  while  the  Pilgrims 
take  possession.  In  the  ship  Pilgrim 
children  are  standing,  with  outstretched 
arms,  waiting  to  be  taken  ashore. 

COSTUMES. 

PILGRIM  FATHER. — Cape,  a  broad- 
brimmed,  high-crowned  hat  and  large, 
white  collar,  over  ordinary  boy's  dress, 
spectacles — cut  from  black  paper  (Fig. 
200).  The  cape  may  be  of  any  mate- 
rial, so  that  it  is  of  a  dark  color. 

The  hat  can  be  made  by  cutting 
from  stiff  brown  paper  a  crown  (Fig. 
201),  fitting  it  around  the  crown  of  an 
ordinary  flat-brimmed  hat,  bringing  it 
into  a  conical  shape,  and  pinning  it  in  place  (Fig.  202).  The 
brim  should  be  cut  from  the  same  paper  in  a  large  circle  (Fig. 
203),  the  hole  in  the  centre  being  just  large  enough  to  fit  nicely 
around  the  crown,  over  which  it  is  slipped,  and  pushed  down 
until  it  rests  upon  the  real  hat-brim  (Fig.  204).  The  paper 
brim  should  be  about  seven  inches  wide,  and  the  crown  nine 


Costume  of  Pilgrim  Father. 


306 


Autumn. 


Manner  of  Making  Pilgrim  Mother's  Cap. 


inches  high.     Figure  205  is  the  pattern  of  collar,  which  can  be 

made  of  white 
paper  or  mus- 
lin. 

PILGRIM 
MOTHER.— 
Full,  plain 
skirt,  white 
kerchief,  small 
white  cap,  and 
large  specta- 
cles. A  gen- 
tleman's linen  handkerchief,  put  around  the  neck  and  crossed 
over  the  bosom,  answers  for  a  kerchief.  The  cap,  too,  can  be 
made  of  a  large  handkerchief  in 
this  way. 

Fold  the  handkerchief  in  the 
manner  shown  in  Fig.  206  ;  lay 
it  flat  upon  a  table,  and  turn  the 
folded  corners  over  as  in  Fig. 
207  ;  turn  up  the  bottom  edge 
over  the  other,  and  roll  over 
about  three  times  (Fig.  208)  ; 
take  the  handkerchief  up  by  the 
ends  and  the  cap  (Fig.  209)  is 
made. 

CHILDREN. — The  young  Pil- 
grims' costumes  are  like  the 
others,  on  a  smaller  scale,  but 
they  wear  no  spectacles. 

INDIANS.  —  Bright-colored 
shawls  for  blankets,  and  feather- 
dusters  for  head-dresses.  The  duster  is  tied  on  to  the  back  of 


Costume  of  Pilgrim  Mother. 


Thanksgiving. 


3°7 


the  Indian's  neck  with  a  ribbon  which  passes  under  the  chin, 
and  the  shawl  is  placed  over  the  handle,  partially  covering  the 
head  and  enveloping  the  figure. 

PROPERTIES. 

The  ship  is  a  large  wash-tub,  which  is  placed   in  the  centre 
of  the  stage;   its  sail  is  a  towel,  fastened  with  pins  to  a  stick, 
the  stick  being  tied  to  a  broom,  as  shown 
in  illustration.     It  is  held  aloft  by  one  of 
the  children  in  the  tub. 

Plymouth  Rock  is  a  table,  occupy- 
ing a  position  near  the  tub.     On  top  of 
it  is  a  chair,  placed  on   its  side  to  give 
an   uneven   surface,  and  over  both 
chair   and    table    is    thrown    a 
gray  table-cover.     The 
fishing-poles  of  the  In- 
dians   are    walking- 
canes   with    strings 
tied  to  the  ends. 

First  Harvest. 


TABLEAU  2.— Pilgrim  fam- 
ilies, grouped  in  the  centre  of 
the  stage,  examining  an  ear  of 
corn  and  rejoicing  over  their 
first  harvest. 


The  Good  Ship  Mayflower. 


PROPERTIES. 


A  broom,  upon  which  is  tied  one  ear  of  dried  corn,  or 
popcorn,  it  doesn't  matter  which,  and  if  neither  is  to  be  had, 
an  imitation  ear  of  corn  can  be  made  by  rolling  paper  into  the 


308 


Autumn. 


Fig.  210.— Paper  Ear  of  Corn. 


Fig.  211 — Pattern  for  Outside 
Husks  of  Corn. 


Fig.  212.— Ear  o- 
Corn  Finished. 


shape  of  Fig.  210,  cutting  husks  after  the  pattern  Fig.  211,  and 
putting  them  together  like  Fig.  212.  The 
broom  is  held  erect,  with  the  handle  resting: 
on  the  floor,  by  Pilgrim  Father. 

Devastation  by,  the  Indians. 

TABLEAU  3. — A  long  table  reaches  across 
centre  of  stage  ;  upon  it  are  empty  dishes, 
and  the  remains  of  a  feast. 

At  each  end  and  at  back  of  table  are 
grouped  the  Indians,  who  are  gnawing  large 
turkey-bones  and  eating  huge  pieces  of 
bread  and  pie.  The  Pilgrim  family  stand  at 
each  side,  and  view  with  horror  the  destruc- 
tion of  their  dinner. 

PROPERTIES. 

The  table  is   a  board   placed  across  the 
backs  of  two  chairs.      In  the  centre  of  the 
table  is  a  large   pie-plate,  with  only  a  very 
small  piece  of  pie  remaining  in  it ;  most  of 
The  corn-field.          the  other  dishes  are  empty. 


Thanksgiving. 


309 


The  Revolution. 

TABLEAU  4. — This  is  represented  by  the  revolution  of  a 
wheel.  Pilgrim  Mother  stands  in  the  centre  of  the  stage,  at  a 
spinning-wheel,  which  is  set  in  motion  just  as  the  curtain  is 
parted. 

PROPERTIES. 

If  a  real  spinning-wheel  cannot  be  obtained,  a  velocipede, 
baby-carriage,  or  child's  wagon,  turned  upside  down,  will  answer 


The  Spinning-wheel. 


the  purpose.     In    the    illustration  the  curtain  has  been  made 
transparent,  to  show  how  the  two  back  wheels  of  a  velocipede 


3io  Autumn. 


are  disposed  of.  A  broom  is  fastened  in  an  upright  position  to 
the  velocipede,  and  on  the  handle  is  tied  a  piece  of  gray  linen 
(a  handkerchief  will  do),  to  represent  flax.  A  string  tied  to  the 
linen  is  held  by  Pilgrim  Mother.  The  curtain  must  be  dropped 
before  the  wheel  ceases  to  revolve. 

Slavery. 

TABLEAU  5. — Pilgrim  Mother  is  bending  over  a  wash-tub, 
with  sleeves  rolled  up  to  shoulders,  washing  ;  a  great  pile  of 
clothes  lies  on  the  floor  at  her  side  ;  she  looks  angrily  at  the 
Pilgrim  Father,  who  sits  opposite  to  her  with  his  legs  crossed, 
calmly  reading  a  newspaper.* 

PROPERTIES. 

The  tub  used  for  the  ship,  placed  on  two  chairs  ;  a  wash- 
board and  a  pile  of  clothes,  white  predominating.  A  rocking- 
chair  for  the  Pilgrim  Father. 

Rebellion. 

TABLEAU  6. — Pilgrim  Mother  stands  in  defiant  attitude,  fac- 
ing Pilgrim  Father,  who  has  just  arisen  from  his  chair. 

The  tub  and  one  of  the  chairs  upon  which  it  stands  are  tipped 
over,  and  the  clothes  are  scattered  about. 

PROPERTIES. 
Same  as  in  preceding  tableau. 

Peace  and  Plenty. 

TABLEAU  7. — Table  extending  across  the  centre  of  stage  is 
heaped  with  all  sorts  of  edibles — whole  pumpkins,  vegetables, 

*  Of  course  we  all  know  that  our  Pilgrim  fathers  did  not  have  the  daily 
papers,  but  this  fact  makes  it  the  more  absurd. 


Thanksgiving. 


fruit,  and  flowers.     At  one  end  of  the  festive  board  stands  Pil- 
grim Father,  at  the  other  Pilgrim  Mother,  smiling  at  each  other. 

^/M/^/y/W/M/W/fl///^^^  HI  I  II!  II  I  111  I  n  1  1  1  1  1  1  1  1  1  1  l\\\\V\\\\\\\\\W\\\\W\V\VV^^^ 


The  Festive  Board. 


Pilgrim  Father  holds  a  long  carving-knife,  as 
though  about  to  carve  a  large  pumpkin  in 

front    of  him.      Pil- 

grim   Mother    is    in 

the  act  of  cutting  a 

huge    pie.      At   the 

back    of    the    table 

are   ranged   the  Pil- 

grim  children,  each 

holding  outstretched 
an  empty  plate,  waiting  to  be  served,  and  all  smiling.     At  each 
side  of  the  stage,  extending  to  the  front,  is  a  line  of  Indians 


Side  View. 


Back  View. 
Fig.  213.— Pumpkin  Lantern. 


Front  View. 


sitting  on  the  floor,  smoking  the  pipes  of  peace.     The  Indians 
also  are  smiling. 

PROPERTIES. 

Table  same  as  in  Tableau  3  :   Dishes,  fruit,  and  vegetables. 
The  Indians'  pipes  are  canes  with  bent  handles. 

If,  in  arranging  the  stage,  clothes-horses,  with  drapery  thrown 


312 


Autumn. 


over  them,  are  placed  at  the  back,  they  will  not  only  form  a  back- 
ground for  the  pictures  presented,  but  the  space  behind  makes 
a  nice  dressing-room  or  retiring-place  for  those  taking  part. 

Pumpkin  lan- 
terns, set  in  a 
row  on  the  floor 
just  inside  the 
curtain,  will  be 
funny  substi- 
tutes for  foot- 
lights. They 
will  decorate  the 
stage  appropri- 
ately, and  at  the 
same  time  be 
quite  safe.  Fig. 
213  shows  how 
they  are  made. 
The  face  is  not 

cut  through,  but  the  features  are  scraped 
thin  enough  to  allow  the  light  inside  to 
make  them  visible.  If  they  were  cut, 
as  in  ordinary  pumpkin  lanterns,  the 
light  would  shine  out  from  instead  of 
on  to  the  stage. 

The  Game  of  the  Headless  Turkey. 


Silhouette  of  the  Headless  Turkey 


A  large   silhouette,  representing  a 
headless  turkey,  is  cut  from  black,  or 

dark  colored  paper-muslin,  and  fastened  upon  a  sheet  stretched 
tightly  across  a  door-way.  To  each  member  of  the  party  is 
given  a  pin  and  a  muslin  head,  which,  if  rightly  placed,  will  fit 


Thanksgiving.  313 


the  turkey.  Then,  one  at  a  time,  the  players  are  blind-folded 
and  placed  at  the  end  of  the  room  opposite  the  sheet.  After 
turning  them  around  three  times  one  way,  then  three  times 
the  other,  they  are  started  off  to  search  for  the  turkey,  that 
they  may  pin  the  head  where  they  suppose  it  belongs.  When 
the  person  going  blindly  about  the  room  comes  in  contact 
with  anything,  no  matter  what,  be  it  chair,  table,  wall,  door,  or 
another  player,  she  must  pin  the  turkey-head  to  the  object 
touched.  To  the  person  who  comes  nearest  to  placing  the 
head  in  its  true  place,  a  prize  of  a  gilded  wish-bone,  tied  to  a 
card  with  a  ribbon,  is  given.  And  she  who  makes  the  least  suc- 
cessful effort  is  presented  with  a  turkey-feather,  which  she 
must  stick  in  her  hair  and  wear  for  the  remainder  of  the  even- 
ing. 

A  Suggestion. 

Amid  all  these  bright  and  happy  thoughts  of  feasting  and 
merrymaking,  comes  an  idea,  so  gently,  yet  persistently,  forcing 
itself  upon  my  notice,  that  it  finally  assumes  the  form  of  a  def- 
inite plan  which  I  will  put  to  you  in  the  form  of  a  suggestion. 

At  this  time,  when,  thinking  over  the  numerous  blessings, 
that  most  of  you  find  to  be  thankful  for,  how  would  it  do, 
girls,  to  form  a  society  among  yourselves,  to  be  called  the 
Thanksgiving  Society,  whose  object  will  be  to  provide  a  real 
Thanksgiving  for  other  and  less  fortunate  girls,  by  giving  them 
something  to  be  thankful  for  before  next  year's  Thanksgiving 
shall  arrive  ? 

There  need  be  no  formality  about  the  society.  The  only 
necessary  officer  will  be  a  secretary,  to  keep  a  record  of  what  is 
done  by  the  society,  individually  and  collectively  ;  which  report 
the  secretary  will  read  at  the  grand  annual  meeting  on  Thanks- 
giving Day. 


3H 


Autumn. 


Many  girls,  young,  like  yourselves,  to  whom  it  is  just  as 
natural  to  be  glad  and  happy,  have  little  to  make  them  so,  and 
to  bring  some  brightness  into  their  lives  would  indeed  be  worth 
forming  a  society  for. 

There  are  various  ways  in  which  kindness  may  be  done 
these  girls,  and  so  many  avenues  will  open  to  those  seeking  to 
benefit  them,  that  it  is  needless  to  attempt  any  instruction  as  to 
what  work  may  be  performed  by  the  society  ;  if  this  suggestion 
is  adopted,  I  know  it  will  be  safe  to  leave  it  to  the  quick  sym- 
pathy and  warm  hearts  of  the  girls  to  do  the  right  thing  at  the 
right  moment.  What  think  you,  girls,  would  it  not  be  worth 
while  to  make  of  this  last  Thursday  of  November  a  Thanks- 
giving for  others  as  well  as  for  yourselves  ?  and  would  not  your 
own  pleasures  be  doubly  enhanced  when  sweetened  with  the 
thought  of  having  done  what  you  could  to  make  someone  else 
happy  ? 


CHAPTER   XXIX. 


CHRISTMAS      FESTIVITIES      AND      HOME-MADE 
CHRISTMAS   GIFTS. 


MONG  all  the  days  we  celebrate  Christmas 
stands  first  and  foremost  in  our  thoughts, 
the  holiday  of  holidays.    Coming  in  the 
season  of  frost  and  snow  it  brings  a 
cheering  warmth  to  our  hearts  that 
defies  the  icy  atmosphere,  and  the 
feeling  of  kindliness  and  good  will 

toward  everyone,  which  it  awakens,  seems  in  response  to  the 
words  the  angels  sang  on  our  first  Christmas,  "  On  earth  peace, 
good  will  toward  men." 

Christmas  is  not  merely  a  day  set  apart  for  feasting,  giving 
and  receiving  presents,  and  for  merrymaking.  The  day  on 
which  we  celebrate  the  birth  of  our  Lord  is  a  time  of  rejoicing 
for  rich  and  poor  alike,  and  Christmas  is  Christmas  still,  although 
we  may  receive  and  can  offer  no  presents  and  our  feast  is  hum- 
ble indeed. 

Feeling  this,  let  us  keep  the  Christmas  festival  as  it  should 
be  kept,  right  happily  and  merrily.  Let  us  decorate  our  homes 
to  the  best  of  our  ability  in  honor  of  the  day,  and  supply  all 
deficiencies  with  happy  hearts  and  smiling  faces. 

A  friend  of  the  writer's  once  remarked,  as  she  busied  herself 
with  some  Christmas-cards  she  was  preparing  to  send  to  the 


318  Winter. 


hospitals,  "  I  always  like  to  tie  a  sprig  of  evergreen  on  each 
card  ;  it  looks  and  smells  so  Christmasy."  And  so  it  does. 
Even  a  few  pieces  of  evergreen,  tacked  over  doorways  or 
branching  out  from  behind  picture-frames,  give  a  room  a  fes- 
tive, Christmas-like  appearance  that  nothing  else  can,  and  as 
evergreens  are  so  plentiful  here  in  America  there  are  few 
houses  that  need  be  without  their  Christmas  decorations. 
Holly,  too,  with  its  brilliant  red  berries  peeping  cheerily  forth 
from  their  shelter  of  prickly  leaves,  adds  brightness  to  the  other 
adornments,  and  when  the  white-berried  mistletoe  can  also  be 
obtained  all  the  time-honored  materials  for  the  Christmas  deco- 
rations are  supplied. 

Though  we  are  Americans,  our  ancestors  came  from  many 
nations,  and  we  have  therefore  a  right  and  claim  to  any  custom 
we  may  admire  in  other  countries.  We  may  take  our  Christ- 
mas celebrations  from  any  people  who  observe  the  day  and 
combining  many,  evolve  a  celebration  which  in  its  variety  will 
be  truly  American. 

From  Germany  we  have  already  taken  our  Christmas-tree  ; 
from  Belgium  our  Christmas-stocking  ;  Santa  Claus  hails  from 
Holland,  and  old  England  sends  us  the  cheery  greeting,  Merry 
Christmas ! 

The  custom  the  French  children  have  of  ranging  their  shoes 
on  the  hearth-stone  on  Christmas-Eve  for  the  Christ-child  to  fill 
with  toys  or  sweetmeats,  is  too  much  like  our  own  Christmas 
stocking  to  offer  any  novelty.  The  Presepio,  or  Holy  Manger,  of 
the  Roman  Catholic  countries,  which  represents  the  Holy  Family 
at  Bethlehem,  with  small  wooden  or  wax  figures  for  the  charac- 
ters, is  more  suitable  for  the  church  celebration,  but  in  Sweden 
and  Denmark  they  have  a  peculiar  method  of  delivering  their 
Christmas-presents  which  we  might  adopt  to  our  advantage,  for 
it  would  be  great  fun  to  present  some  of  our  gifts  in  their  novel 
manner. 


Christmas  Festivities.  319 

Instead  of  describing  this  custom  we  will  tell  you  just  how 
to  carry  it  out  and  will  call  it  the 


Julklapp, 

which  in  Denmark  and  Sweden  means  Christmas-box  or 
gift. 

Before  Christmas-Day  arrives  all  the  presents  intended  for 
the  Julklapp  delivery  must  be  prepared  by  enclosing  them  in  a 
great  many  wrappings  of  various  kinds,  none  of  which  should 
in  any  way  suggest  their  contents. 

If  one  of  the  presents  is  a  pretty  trinket,  wrap  it  up  in  a 
fringed  tissue  paper,  such  as  is  used  for  motto  candy  or  sugar- 
kisses  ;  place  it  in  a  small  box,  and  tie  the  box  with  narrow 
ribbon  ;  then  do  it  up  in  common,  rough  brown  paper,  and  wrap 
the  package  with  strips  of  cloth  until  it  is  round  like  a  ball ; 
cover  the  ball  with  a  thin  layer  of  dough,  and  brown  in  the 
oven.  Pin  it  up  in  a  napkin,  wrap  in  white  wrapping  paper  and 
tie  with  a  pink  string. 

The  more  incongruous  the  coverings,  the  more  suitable  they 
are  for  the  Julklapp.  You  may  enclose  others  gifts  in  bundles 
of  hay,  rolls  of  cotton  or  wool,  and  use  your  own  pleasure  in 
choosing  the  inner  wrappings.  It  will  be  the  wisest  plan  to 
always  use  something  soft  for  the  outside  covering,  the  reason 
of  which  you  will  understand  when  the  manner  of  delivery  is 
explained.  Each  package  must  be  labelled  with  the  name  of  the 
person  for  whom  it  is  intended,  and  if  an  appropriate  verse, 
epigram,  or  proverb  be  added  it  will  be  the  cause  of  fresh  mirth 
and  laughter. 

The  Julklapp  delivery  may,  and  probably  will  commence 
very  early  Christmas  morning,  for  the  little  folks,  always  early 
risers  on  this  day,  will  no  doubt  be  up  betimes,  and  ready  for 
the  business  of  the  day.  The  first  intimation  the  less  enter- 


320  IVinter. 


prising  members  of  the  family  will  have  that  Christmas  has 
dawned,  will  be  a  loud  bang  at  the  chamber  door,  followed  by 
a  thump  of  something  falling  on  the  bed  or  the  sleeper's  chest. 
Then  springing  up  and  opening  startled  eyes,  from  which  all 
sleep  has  been  thus  rudely  banished,  one  will  probably  discover 
a  large  bundle  of  something  on  the  bed  or  lying  on  the  floor 
close  beside  it.  It  will  be  useless  to  rush  to  the  door  to  find 
from  whom  or  where  this  thing  has  come,  for  although  a  sup- 
pressed giggle  may  be  heard  outside  the  door  just  after  feeling 
the  thump,  nothing  will  be  met  upon  opening  it,  but  dead  si- 
lence, and  nothing  seen  but  the  empty  hall. 

At  any  time  during  the  day  or  evening  the  Julklapps  may  ar- 
rive and  when  all  look  toward  the  door,  as  a  loud  rap  is  heard, 
whizz  !  something  comes  through  the  window  and  lands  in  the 
middle  of  the  room.  A  sharp  tap  at  the  window  is  followed  by 
the  opening  and  closing  of  a  door,  and  a  bundle  of  straw,  wool, 
paper,  or  cloth,  as  the  case  may  be,  lands  in  someone's  lap.  In 
short  the  Julklapps  may  come  from  any  and  every  direction,  and 
when  one  is  least  expecting  them,  and  so  the  surprises  and  ex- 
citement are  made  to  last  until,  weary  with  the  fun  and  gayety  of 
the  day,  the  tired  merrymakers  seek  their  beds  on  Christmas- 
night. 

If  it  has  not  been  made  plain  enough  who,  or  what  causes 
the  mysterious  arrivals  of  the  Julklapps  we  will  say  that  the 
whole  household  join  in  the  conspiracy,  and  the  packages  come 
from  the  hands  of  each  of  its  members.  The 

Polish   Custom 

of  searching  for  Christmas  gifts,  which  have  previously  been 
hidden  in  all  manner  of  places  in  the  house,  is  one  the  children 
will  delight  in,  and  one  that,  introduced  at  a  Christmas  party, 
will  provoke  no  end  of  merriment  and  fun. 


Christmas  Festivities. 


321 


The  Bran  Pie 

is  an  English  dish,  but  is  quite  as  well  suited  to  the  American 
taste.  It  is  an  excellent  means  of  distributing  trifling  gifts  and 
may  be  new  to  some  of  you. 

Use  a  large,  deep  brown  dish  for  the  pie.  Put  in  it  a  gift 
for  everyone  who  will  be  at  the  Christmas  dinner,  and  cover 
them  over  thickly  with  bran,  ornament  the  top  by  sticking  a 
sprig  of  holly  in  the  centre.  After  dinner  have  the  bran  pie 
put  on  the  table  with  a  spoon  and  plates  beside  it,  and  invite 
everyone  to  help  her  or  himself,  each  spoonful  bringing  out 
whatever  it  touches.  Comical  little  articles  may  be  put  in  the 
pie,  and  the  frequent  inappropriateness  of  the  •  gift  to  the  re- 
ceiver of  it,  helps  to  create  laughter. 

The  Bran  Pie  should  be  the  secret  of  not  more  than  two 
persons,  for,  like  all  things  pertaining  to  Christmas  gifts,  the 
greater  the  surprise,  the  more  pleasure  there  will  be  in  it. 


1 


The  Blind  Man's  Stocking 

may  also  be  used  for  small  gifts,  or  it  may  hold  only  candy  and 
bonbons.     Make  the  stocking  of  white  or  colored 
tissue-paper  like  the  pattern  given  in  Fig.  214. 

First  cut  out  one  piece  like  the  pattern,  mak- 
ing the  foot  thirteen   inches  long  and  six  inches 
from  the  sole  to  the  top  of  the  instep,  and  the  leg 
of  the  stocking  sixteen  inches  from  the  heel  to 
the  top  ;    then   cut  another,   one  inch 
larger  all  around   than  the  first.     Place 
the  two   together  fold  the  edge  of  the 
larger  over  the  smaller  piece  and  paste 
it  down    all  around  except  at  the  top 
(Fig.  214).     Fill  the  stocking  with  small  gifts  or  sweetmeats, 

21 


Fig"  214-FaPer  stockin*- 


322  Winter. 


tie  a  string  around  the  top  to  keep  it  fast,  and  suspend  it  from 
the  centre  of  a  doorway.  Blindfold  each  player  in  turn,  put  a 
long,  light  stick  in  her  hand,  a  bamboo  cane  will  do,  and  lead 
her  up  within  reach  of  the  stocking  and  tell  her  to  strike  it. 
When  anyone  succeeds  in  striking  the  stocking  and  a  hole  is 
torn  in  it,  the  gifts  or  candy  will  scatter  all  over  the  floor  to  be 
scrambled  for  by  all  the  players.  Each  player  should  be  al- 
lowed three  trials  at  striking  the  stocking. 

Young  children  are  always  delighted  with  this  Christmas 
custom,  and  the  older  ones  by  no  means  refuse  to  join  in  the 
sport. 

Home-made  Christmas  Gifts. 

That  the  children  may  do  their  share  toward  filling  the 
Christmas  stockings,  adding  to  the  fruit  of  the  Christmas  tree, 
helping  with  the  Julklapps,  contributing  to  the  Bran  Pie  or 
Blind  Man's  Stocking,  we  give  these  hints  on  home-made 

Christmas  gifts,  all  of  which  are  in- 
expensive and  easily  constructed. 

Chamois  for  Eye-glasses. 

Cut  out  two  circular  pieces  of 
chamois-skin  about  the  size  of  a  sil- 
ver half-dollar,  bind  the  edges  with 
narrow  ribbon,  and  fasten  the  two 
pieces  together  with  a  bow  of  the 
same.  Print  with  a  lead  pencil  on 

Fig.  215.— Chamois  for  Eye-glasses. 

one  piece   of  the    chamois-skin,    "  I 

Make  all  Things  Clear,"  and  go  over  the  lettering  with  a  pen 
and  India  ink,  or  you  may  paint  the  letters  in  colors  to 
match  the  ribbon.  Fig.  215  shows  how  it  should  look  when 
finished. 


Christmas  Festivities. 


323 


Glove  Pen-wiper. 

Cut  four  pieces  from  thin,  soft  chamois-skin,  like  the  outline 
of  Fig.  216.  Stitch  one  with  silk  on  the  sewing-machine,  ac- 
cording to  the  dotted  lines.  Cut  two  slits  at  the  wrist  through 


Fig.  216. — Pattern  of  Pen-wiper. 


Fig.  217 — Pen- wiper. 


all  the  pieces  as  shown  in  Fig.  216,  and  join  them  together  by 
a  narrow  ribbon  passed  through  the  openings,  and  tied  in  a 
pretty  bow,  Fig.  217. 

Sachet. 

Open  out  an  envelope,  and  cover  it  with  white  or  cream- 
colored  silk,  refold  carefully,  joining  the  edges  with  stiff  muci- 
lage, using  as  little  as 
possible.  In  place  of  a 
letter  enclose  a  layer  of 
cotton  sprinkled  with 
sachet-powder,  fasten 
the  envelope  with  seal- 
ing-wax as  in  an  ordi- 
nary letter.  Address  it 
with  pen  and  ink,  to 
the  one  for  whom  it  is 
intended.  Print  on  it, 
like  a  stamp,  "  Christmas,  December  25,"  and  fasten  a  cancelled 


Qfa^t'Car  s&icuu^ 


Fig.  218.— Sachet. 


324 


Winter. 


stamp,  taken  from  an  old  letter,  on  one  corner.     The  finished 
sachet  is  shown  in  Fig.  218. 


A  Book-mark. 

Cut  out  the  corner  of  a  full-sized,  lin- 
en-lined envelope,  making  the  piece  four 
inches  long,  and  one  and  a  half  inches 
wide.  Write  on  one  side  with  pen  and 
ink,  or  paint  the  lettering  in  color,  "  A 
Fresh  Mind  Keeps  the  Body  Fresh. " 
The  book-mark  will  fit  over  the  book-leaf 
like  a  cap,  and  is  excellent  for  keeping  the 
place.  Fig.  219. 

A  Scrap-bag. 
Scrap-bags    have    been    fashioned    in 

Fig.  219.-Book.mark.  many  shapes  ancj    sjzeSj  ancj  of  a\\  sorts  of 

material,  still  it  remains  to  be  shown  in  what  manner  Christmas 


Fig.  220.— Pattern  of  Scrap-bag. 

cards  may  add  in  decoration  and  beauty  to  these  useful  articles, 


Christmas  Festivities. 


325 


From  your  collection  choose  four  cards  of  the  same  size,  then 
on  a  piece  of  bright  silk  or  cloth  sew  the  cards  at  equal  dis- 
tances apart,  as  in  Fig.  220,  stitching 
them  around  the  edges  on  the  sewing- 
machine.  At  the  dotted  line  fold  over 
the  top  of  the  bag  as  if  for  a  hem,  mak- 
ing the  narrow  fold  lap  just  cover  the 
upper  edge  of  the  card  ;  stitch  this  down 
to  form  a  binding. 

After  joining  the  bag  at  the  dotted 
lines  on  the  sides,  gather  the  bottom  up 
tight  and  fasten  to  it  a  good-sized  tassel ; 
then  sew  on  each  side  a  heavy  cord 
with  tassels  placed  where  the  cord  joins 
the  bag,  as  seen  in  Fig.  221.  The  cord 
and  tassels  of  the  example  were  made  of 
scarlet  worsted. 


Fig.  221.— Scrap-bag. 


A  Walnut-shell  Turtle. 

For  an  ornament  to   be  used  on  a 
pen-wiper,  or  simply  as  a  pretty  toy, 

j*?,^— **TV          the  little  turtle  is  appropriate.     It  is  made 

*f  Nr-Ss.  °^  ^a^  an  English  walnut,  which  forms  the 

<^2T  f^S    turt^e's  kack  or  shell,  glued  on  a  piece  of 

/S^    ^C          card-board  cut  after 

the    diagram   given 

Fig.  222.— Pattern  of  Turtle.    . 

in  Fig.  222.     Paint 

the  card-board  as  nearly  as  possible  the 

color  of  the   shell,  and  the  eyes   black.  Fig  223._WaInut.shell  Turtle. 
When   perfectly   dry  glue  the  shell   se- 
curely to  the  card-board,  bend  down  and  out  the  feet  a  little, 
in  order  to  make  the  turtle  stand  ;  bend  the  head  up,  and  the 
tail  down,  as  in  Fig.  223. 


326 


Here  are  some  home-made  toys  which  the  children  can 
make  to  give  to  one  another. 

Miss   Nancy. 

Miss  Nancy  (Fig.  226)  is  fashioned  from  a  piece  of  pith 
taken  out  of  a  dried  .cornstalk.  Cut  away  the  stalk  until  the 
pith  is  reached  ;  then  take  a  piece  of  the  pith,  about  six  inches 


Q 


Fig.  224.  Fig.  225 

Manner  of  Making  Miss  Nancy. 


Fig.  226.— Miss  Nancy. 


long  and  whittle  out  one  end  to  resemble  a  head  as  in  Fig.  224, 
draw  a  face  on  the  head  with  pen  and  ink,  and  glue  half  of  a 
lead  bullet  on  the  lower  end  of  the  pith  (Fig.  225).  Make  Miss 
Nancy's  costume  of  a  skirt,  composed  of  some  bright-colored 
Japanese  paper,  a  shawl  made  of  a  piece  of  soft  ribbon  or  silk, 
and  a  cap  of  white  swiss.  The  peculiarity  of  the  little  lady  is 
that  she  insists  upon  always  standing  upright,  no  matter  in 
what  position  she  is  placed. 


Christmas  Festivities. 


327 


A  Soft  Ball. 

A  very  pretty  and  safe  return  ball  for  the  little  ones  to 
play  with  may  be  made  of  paper  (Fig.  227),  which,  being 
soft,  precludes  all  danger  of  "  thumps  and 
bumps." 

Take  a  piece  of  newspaper,  and,  using 
both  hands,  roll  it  and  fold  it  into  some- 
thing of  the  required  shape.  Then  place 
it  in  the  centre  of  a  square  piece  of  bright- 
colored  tissue  paper  ;  take  the  four  corners 
of  the  tissue-paper  up  to  the  centre  of  the 
top  of  the  ball,  fold  them  over,  also  fold 
and  smooth  down  what  fulness  there  may 
be  ;  next  place  a  small  round  piece  of  gold, 
silver,  or  some  contrasting  colored  paper 
on  the  top  of  the  ball.  Secure  all  by  wind- 
ing a  string  around  the  ball,  making  six 
or  eight  divisions  ;  tie  a  piece  of  elastic  to 
the  string  where  it  crosses  on  the  top  of 
the  ball,  then  paste  over  this  a  small  arti- 
ficial flower.  In  the  other  end  of  the  elas- 
tic, make  a  loop  to  fit  over  the  finger,  or 
tie  on  it  a  small  brass  ring. 

If  a  tiny  sleigh-bell  be  placed  in  the 
centre  when  the  ball  is  being  made,  it  will  give  a  cheerful  little 
tinkling  noise  whenever  the  ball  is  thrown. 


Fig.  227.— Paper  Ball. 


A  Lively  Rooster. 

To  make  the  rooster  (Fig.  228),  cut  out  of  stiff  cardboard 
Figs.'  229,  230,  231,  and  232.  Tie  on  Figs.  229  and  230  each  a 
piece  of  string  seven  and  one-half  inches  long.  Then  attach 


328 


Winter. 


the  head  and  tail  to  the  body  by  running  a  string  through  holes 
at  A  in  Fig.  230  and  A  in  Fig.  231,  and  another  through  B  in 
Fig.  229  and  B  in  Fig.  231.  Bring  the  head  and  tail  up  close 
to  the  body  and  fasten  the  ends  of  the  strings  down  securely 


:? 
Jo 

Fig. 

232. 

Fig.  228.— The  Rootter. 


Pattern  of  Rooster. 


with  court-plaster  or  pieces  of  paper  pasted  over  them.  Bend 
Fig.  231  at  dotted  line  C  ;  then  on  the  space  marked  E,  paste 
the  portion  of  Fig.  232  marked  E  after  bending  it  at  dotted  line 
O.  Again  bend  Fig.  232  in  the  same  direction  at  dotted  line 


Christmas  Festivities. 


329 


P,  and  paste  it  across  the  space  marked  P,  on  Fig.  231.     When 

all  is  fastened  together,  and  the  paste  perfectly  dry,  paint  the 

rooster  to  look  as  life-like  as  possible.     Tie  the  strings  of  Figs. 

229    and    230   together   four   inches 

from    where  they   are   fastened   on, 

then  again  about  three  inches  lower 

down,   and  attach  a  weight  to   the 

ends.     A  common  wooden  top,  with 

a  tack   in  the  head  (Fig.  233),  will 

answer  the  purpose  nicely.    To  bring 


Fairy  Dancers. 


the  rooster  to  life,  place  him  on  the  mantel-piece,  with  a  book 
serving  as  a  weight  on  the  projection  of  Fig.  232,  swing  the  top 
and  he  will  move  his  head  and  tail  in  the  most  amusing  manner. 


330 


Winter. 


Fairy  Dancers. 

Among  the  gifts  made  by  little  hands,  a  box,  containing  a  set 
of  fairy  dancers,  will   be  a  most  novel  and  welcome  addition. 

These  little  figures,  when  placed 
on  the  piano,  will  move  as  soon 
as  the  keys  are  touched,  danc- 

Y  mg  fast  or  slow  in  perfect  time 

to  the  music.     They  may  all  be 

made  to  resemble  fairies  as  in  Fig.  234, 

or  a  famous  collec- 
tion of   figures    in 

the     costumes     of 

different      periods 

in  history  will   be 

equally  pretty  and 

perhaps    more    in- 
teresting.     Ladies 

in   kirtles   and    tu- 
nics, gentlemen  in 

slashed     doublet 

and    hose    of    the 

Tudor     times, 

Queen  Elizabeth's 

starched  ruffs  and 

farthingales,       etc. 

All    these    dresses 

can  be  more  easily 

copied  from  pict- 
ures of  the  period  than  from  any  written 
description  of  them.  The  materials  used 

for  the  costume  must  be  of  the  lightest  kind,  for  a  heavy  dress 
will  weigh  down  the  dancer  and  hamper  its   movements.     To 


Fig.  234.— A  Fairy  Dancer. 


Fig.  235 Pattern  of  Fail? 

Dancer. 


Christmas  Festivities. 


33i 


make 
it  out, 


the  fairy  (Fig.  234)  trace  Fig.  235  on  cardboard  and  cut 
sew  a  piece  of  bonnet-wire  down  the  back,  as  shown  in 
diagram.  Mark  the  slippers  on  the  feet  with 
ink  or  black  paint,  select  a  Christmas  or  adver- 
tising card  representing  a  child,  with  a  head 
of  a  suitable  size,  cut  the  head  out  and  paste 
it  on  the  fairy. 

Gather  two  short  skirts  of  tarlatan, 
make  a  waist  of  the  same,  sew  with  a 
few  stitches  to  the  doll,  and  cover  the 
stitches  with  a  sash  of  bright 
colored  tissue  paper  ;    add  a 
strip  of  tarlatan  for  a  floating 
scarf,  gluing  it  to  the  uplifted 


fig.  236 — Pattern  of  Chinaman. 

hands.     Bend  back  the 
piece  of  cardboard  pro- 

.          .  c  ,,          f  Fig.  237.   Fig.  238. 

jeCtmg     from     the     foot,  Chinaman's 

and   glue   to  it  a  small  Queue- 

piece  of  bristle  brush.  The  wire  on 
the  doll  should  be  long  enough  to  pass 
tightly  around  the  brush,  thus  making 
it  more  secure. 

If  you  would  like  to  have  the 
Chinaman  (Fig.  239)  in  your  troupe  of 
dancers,  trace  on  cardboard  Fig.  236,  Fig.239-The  chinaman, 

draw  a   face  with  slanting  eyes,  or  paint  it  ;  then  take  several 
strands  of  black  thread  and  tie  them  together  in  the  centre  with 


332 


Winter. 


as    Fig.  241.  —  Pat- 
_  _.    ,          ,  tern  of  China- 

Make  the       man's  Hat. 


another  piece  of  thread  (Fig.  237),  bring  the  ends  down  together 
(Fig.  238),  braid  them   and  sew  the  braid  to  the  back  of  the 

Chinaman's  head  (239).  Cut 
a  loose  sacque  from  pattern 
Fig.  240,  fold  at  the  waved 
lines  and  sew  together  at 
the  dotted  lines  ;  cut  an 
opening  for  the  head 
seen  in  pattern, 
hat  of  dark  green  paper  cut 
in  the  form  of  Fig.  241,  and 
crimp  it  from  the  centre 
(Fig.  242).  Sew  the  hat  to 
the  back  of  the  Chinaman's 

Fig.  240.— Chinaman's  Sacqne.     ,,,«.•,  ji_  j    Fig.   242.  —  Chi- 

head,  bend   the    cardboard     naman's  Hat. 
projection  at  the  feet  and  glue  it  to  a  piece  of  brush. 

Butterflies  of  brilliant  hues,  all  hovering  and  circling,  may 
take  the  place  of  the  fairies,  or  they  may  mingle  with  them  in 
the  dance,  presenting  a  scene  indeed  fairy-like.  To  make  a 


Butterfly  Pattern. 


butterfly,  trace  the  pattern  given  in  Fig.  243,  on         Butterflr. 
brilliantly  colored  paper.     Form  a  body  by  roll- 
ing a  small  piece  of  beeswax  between  the  fingers  until  it  as- 
sumes  the  desired  shape  (Fig.  244)  ;  then  attach  the  wings  to 
the  body  by  softening  the  wax  and  sticking  them  to  it.     Wax 


Christmas  Festivities. 


333 


a  piece  of  black  thread  to  stiffen  it,  and  make  a  knot  in  each 
end  (Fig.  245),  bend  this  in  the  middle  and  stick  it  on  to  the 
head  to  form  the  antennae  (Fig.  246).  Fasten  one  end  of  a  very 
fine  wire  securely  in  the  middle  of  the  wax  body,  and  wrap  the 
other  end  around  a  small  piece  of  brush  as  seen  in  Fig.  247. 
A  number  of  these  butterflies  placed  on  the  pianoforte  will 
move,  bend  and  sway  with  the  music  as  if  endowed  with  life. 

Toys,  also,  which  are  small  and  light  enough,  can  be  made  to 
"  trip  the  light  fantastic  "  in  time  to  the  music. 

Select  those  most  suitable  and  glue  them  to  pieces  of  brush 
in  the  way  described  for  the  other  dancers. 

The  children,  generous  little  souls,  always  long  to  do  their 
part  towards  making  Christmas  presents,  and  we  hope  that  the 
suggestion  we  have  offered  will  help  them  to  manufacture, 
without  other  aid,  many  little  gifts  which  their  friends  will 
prize  the  more  highly  for  having  been  made  by  the  loving  little 
hands. 


CHAPTER    XXX. 


AMUSEMENTS  AND  GAMES  FOR  THE  CHRISTMAS 

HOLIDAYS. 

WINTER  passed  in-doors  would  be  irksome  in- 
deed 'for  a  healthy,  hearty  girl,  and  even  the 
most  delicate  are  the  better  for  an  outing  now 
and  then.  The  keen  northwest  wind,  the  bit- 
ing frosts,  the  crisp  atmosphere  and  the  glisten- 
ing ice  and  snow  are  not  without  their  attrac- 
tions, and  we  hope  that  no  American  girl  will 
neglect  the  opportunities  this  time  of  the  year 
affords  for  healthy,  enjoyable  out-door  pas- 
time. It  is  well  to  follow  the  example  of  our  Canadian  sisters, 
and,  clad  in  garments  warm  and  appropriate,  indulge  in  coast- 
ing, tobogganing,  skating,  sleighing,  and  walking. 

The  country,  wrapped  in  its  winter  mantle,  is  very  attractive. 
Many  of  our  small  animals  and  birds  that  city  people  are  apt  to 
associate  only  with  a  summer  .landscape,  are  to  be  found  abroad 
in  mid-winter,  and  upon  a  bright  sunny  day  the  birds  are  not 
only  to  be  seen,  but  heard  twittering  and  even  singing  in  the 
hedges  ;  they  do  not  feel  the  cold  and  are  enjoying  themselves 
heartily.  The  reason  the  birds  and  wild  creatures  are  so  com- 
fortably content,  is  because  they  are  prepared  for  the  weather, 
their  clothing  is  not  only  soft  and  warm,  but  fits  them  perfectly, 
without  interfering  with  their  movements.  Take  a  lesson  from 
them,  girls,  dress  as  becomingly  as  you  choose,  the  birds  always 
do  that,  but  do  not  wear  thin-soled  shoes  or  anything  that  is 


Christmas  Holidays.  335 

uncomfortable  ;  wrap  up  warm  and  you  can  enjoy  yourself  out 
of  doors  in  the  coldest  weather  just  as  well  as  the  birds.  The 
cold  winds  will  only  bring  the  roses  to  your  cheeks,  and  the 
keen,  invigorating  air,  health  and  suppleness  to  your  body. 

We  do  not  think  any  person  ever  learned  to  skate,  coast,  or 
walk  on  snow-shoes  from  reading  the  directions  that  can  be 
given  in  a  book.  It  is  for  that  reason  we  have  no  chapter 
devoted  to  these  sports  and  not  because  we  do  not  believe  in, 
and  enjoy  them,  too.  Therefore  we  will  direct  our  attention 
to  indoor  sports,  for  they  can  be  learned  in  this  way  and  are 
quite  as  important  as  the  others  in  filling  out  the  list  of  winter 
amusements. 

There  are  a  great  many  days  in  winter  when  it  is  so  stormy 
and  disagreeable  out-doors,  one  is  glad  enough  to  have  the 
shelter  of  a  roof  and  the  warmth  of  a  fire  ;  these  are  the  days 
and  evenings  when  in-doors  games  are  in  demand,  and  during 
the  holiday  season,  when  work  has  been  put  aside,  and  you 
have  nothing  to  do  but  enjoy  yourself,  any  new  diversion  is 
always  welcome.  It  is  here  then  that  we  will  insert  the 

New  Game  of  Bubble  Bowling. 

When  the  game  of  Bubble  Bowling  was  played  for  the  first 
time,  it  furnished  an  evening's  entertainment,  not  only  for  the 
children,  but  for  grown  people  also  ;  even  a  well  known  gen- 
eral and  his  staff,  who  graced  the  occasion  with  their  presence, 
joined  in  the  sport,  and  seemed  to  enjoy  it  equally  with  their 
youthful  competitors.  Loud  was  the  chorus  of  "  Bravo  !  "  and 
merry  the  laugh  of  exultation  when  the  pretty  crystal  ball 
passed  safely  through  its  goal ;  and  sympathy  was  freely  ex- 
pressed in  many  an  "  Oh  !  "  and  "  Too  bad  !  "  as  the  way- 
ward bubble  rolled  gayly  off  toward  the  floor,  or,  reaching  the 
goal,  dashed  itself  against  one  of  the  stakes  and  instantly  van< 
ished  into  thin  air. 


336 


Winter. 


The  game  should  be  played  upon  a  long,  narrow  table,  made 
simply  of  a  board  about  five  feet  long  and  eighteen  inches  wide, 
resting  upon  high  wooden  "  horses.''  On  top  of  the  table,  and 
at  a  distance  of  twelve  inches  from  one  end,  should  be  fastened 
in  an  upright  position,  two  stakes,  twelve  inches  high  ;  the 
space  between  the  stakes  should  be  eight 
inches,  which  will  make  each  stand  four 
inches  from  the  nearest  edge  of  the 
table.  When  finished,  the  table 
must  be  covered  with  some  sort 


Bubble  Bowling. 

of  woollen  cloth  ;  an  old  shawl  or  a 
breadth  of  colored  flannel  will  answer 
the  purpose  excellently.  Small  holes 
must  be  cut  at  the  right  distance  for  the  stakes 
to  pass  through.  The  cloth  should  be  allowed 
to  fall  over  the  edge  of  the  table,  and  must  not  be 
fastened  down,  as  it  will  sometimes  be  necessary  to 
remove  it  in  order  to  let  it  dry.  It  will  be  found  more  conveni- 
ent, therefore,  to  use  two  covers,  if  they  can  be  provided,  as 
then  there  can  always  be  a  dry  cloth  ready  to  replace  the  one 
that  has  become  too  damp.  The  bubbles  are  apt  to  stick  when 
they  come  upon  wet  spots,  and  the  bowling  can  be  carried  on 
in  a  much  more  lively  manner  if  the  course  is  kept  dry.  Each 
of  the  stakes  forming  the  goal  should  be  wound  with  bright 


Amusements  and  Games.  337 

ribbons  of  contrasting  colors,  entwined  from  the  bottom  up, 
and  ending  in  a  bow  at  the  top.  This  bow  can  be  secured  in 
place  by  driving  a  small  brass-headed  tack  through  the  rib- 
bon into  the  top  of  the  stake.  If  the  rough  pine  legs  of  the 
table  seem  too  unsightly,  they  can  easily  be  painted,  or  a 
curtain  may  be  made  of  bright-colored  cretonne — any  other 
material  will  do  as  well,  provided  the  colors  are  pleasing — and 
tacked  around  the  edge  of  the  table,  so  as  to  fall  in  folds  to  the 
floor.  The  illustration  shows  the  top  of  the  table,  when  ready 
for  the  game. 

For  an  impromptu  affair,  a  table  can  be  made  by  placing  a 
leaf  of  a  dining-table  across  the  backs  of  two  chairs,  and  cover- 
ing it  with  a  shawl ;  lead  pencils  may  be  used  for  the  stakes, 
and  they  can  be  held  in  an  upright  position  by  sticking  them 
in  the  tubes  of  large  spools.  This  sort  of  table  the  children 
can  arrange  themselves,  and  it  answers  the  purpose  very  nicely. 
The  other  things  to  be  provided  for  the  game  are  a  large  bowl 
of  strong  soapsuds,  made  with  hot  water  and  common  brown 
soap,  and  as  many  pipes  as  there  are  players. 

The  prizes  for  the  winners  of  the  game  may  consist  of 
any  trinkets  or  small  articles  that  fancy  or  taste  may  sug- 
gest. 

Bubble  Bowling  can  be  played  in  two  ways.  The  first 
method  requires  an  even  number  of  players,  and  these  must 
be  divided  into  two  equal  parties.  This  is  easily  accomplished 
by  selecting  two  children  for  captains,  and  allowing  each  cap- 
tain to  choose,  alternately,  a  recruit  for  her  party  until  the 
ranks  are  filled,  or,  in  other  words,  until  all  the  children  have 
been  chosen  ;  then,  ranked  by  age,  or  in  any  other  manner 
preferred,  they  form  in  line  on  either  side  of  the  table.  A  pipe 
is  given  to  each  child,  and  they  stand  prepared  for  the  contest. 
One  of  the  captains  first  takes  her  place  at  the  foot  of  the  table, 
where  she  must  remain  while  she  is  bowling,  as  a  bubble  pass- 


338  Winter. 


ing  between  the  stakes  is  not  counted  unless  blown  through  the 
goal  from  the  end  of  the  table. 

The  bowl  of  soapsuds  is  placed  upon  a  small  stand  by  the 
side  of  the  bowling-table,  and  the  next  in  rank  to  the  captain, 
belonging  to  same  party,  dips  her  pipe  into  the  suds  and  blows 
a  bubble,  not  too  large,  which  she  then  tosses  upon  the  table  in 
front  of  the  captain,  who,  as  first  bowler,  stands  ready  to  blow 
the  bubble  on  its  course  down  through  the  goal.  Three  suc- 
cessive trials  are  allowed  each  player  ;  the  bubbles  which  break 
before  the  bowler  has  started  them,  are  not  counted. 

The  names  of  all  the  players,  divided  as  they  are  into  two 
parties,  are  written  down  on  a  slate  or  paper,  and  whenever  a 
bubble  is  sent  through  the  goal,  a  mark  is  set  down  opposite 
the  name  of  the  successful  bowler. 

When  the  captain  has  had  her  three  trials,  the  captain  on 
the  other  side  becomes  bowler,  and  the  next  in  rank  of  her  own 
party  blows  the  bubbles  for  her.  When  this  captain  retires, 
the  member  of  the  opposite  party,  ranking  next  to  the  captain, 
takes  the  bowler's  place  and  is  assisted  by  the  one  whose  name 
is  next  on  the  list  of  her  own  side  ;  after  her  the  player  next  to 
the  captain  on  the  other  side  ;  and  so  on  until  the  last  on  the 
list  has  her  turn,  when  the  captain  then  becomes  assistant  and 
blows  the  bubbles. 

The  number  of  marks  required  for  either  side  to  win  the 
game,  must  be  decided  by  the  number  of  players  ;  if  there  are 
twenty — ten  players  on  each  side — thirty  marks  would  be  a 
good  limit  for  the  winning  score. 

When  the  game  has  been  decided,  a  prize  is  given  to  that 
member  of  the  winning  party  who  has  the  greatest  number  of 
marks  attached  to  her  name  showing  that  she  has  sent  the  bub- 
ble through  the  goal  a  greater  number  of  times  than  any  player 
on  the  same  side.  Or,  if  preferred,  prizes  may  be  given  to 
every  child  belonging  to  the  winning  party.  The  other  way  in 


Amusements  and  Games.  339 

which  Bubble  Bowling  may  be  played  is  simpler,  and  does  not 
require  an  even  number  of  players  as  no  sides  are  formed. 

Each  bowler  plays  for  herself,  and  is  allowed  five  succes- 
sive trials  ;  if  three  bubbles  out  of  the  five  be  blown  through 
the  goal  the  player  is  entitled  to  a  prize.  The  child  acting  as 
assistant  becomes  the  next  bowler,  and  so  on  until  the  last  in 
turn  becomes  bowler,  when  the  one  who  began  the  game  takes 
the  place  of  assistant. 

When  the  evening  lamps  are  lighted  and  the  young  folks, 
gathered  cosily  around  the  cheerful  fire,  begin  to  be  at  a  loss 
how  to  amuse  themselves,  let  them  try  the  game  of 

Biographical    Nonsense. 

A  paper  must  be  written  by  one  of  the  players  which  will 
read  like  the  following  : 

The  name  of  a  noted  man. 

A  date  between  the  flood  and  the  present  year. 

The  name  of  a  noted  man. 

A  country. 

The  name  of  some  body  of  water  or  river. 

Some  kind  of  a  vessel. 

A  country. 

A  country. 

The  name  of  a  school. 

A  city. 

A  city,  town,  or  country. 

A  city,  town,  or  country. 

A  number. 

The  names  of  two  books. 

The  name  of  one  book. 

A  wonderful  performance. 

The  name  of  a  well-known  person. 


34°  Winter. 


A  profession  or  trade. 

A  term  expressing  the  feeling  entertained  for  another  per- 
son. 

A  term  descriptive  of  someone's  appearance. 

A  word  denoting  size. 

A  term  describing  form. 

A  color. 

A  word  denoting  size. 

The  name  of  an  article  of  some  decided  color. 

The  name  of  any  article. 

The  name  of  any  article. 

A  number  of  years. 

This  paper  is  to  be  passed  to  each  member  of  the  party  who 
in  turn  will  fill  up  the  blanks  left,  with  the  words,  terms,  and 
names  indicated. 

When  the  blanks  have  been  filled,  one  player  must  read  the 
following,  and  another  supply  the  words,  when  she  pauses,  from 
the  paper  just  prepared,  being  sure  to  read  them  in  their  true 
order. 

A   BIOGRAPHY. 

—  was  born  in the  same  year  when  -  dis- 
covered -    ,  by  sailing  through  the in  a .    His 

father  was  a  native  of  -         -  ;  his  mother  of .      He  was 

educated  at ,  in  the  city  of .      His  first  voyage, 

which  was  a  long  one,  was  from to .     He  wrote 

three  books   before  he   was  years  of   age.     They   are 

,   and  -    .     He  performed    the   miraculous    feat   of 

with .     He  was  a  great  ,  and  one  we  shall 

ever .     In  appearance  he  was being  rather  — 

of  stature.     His  nose  was  ,  his  eyes ,  his   mouth 

,  and  hair  the  color  of  -  adorned  his  head.      He 

invariably  carried  in  his  hand  a and  a ,  by  which 


Amusements  and  Games.  341 

he  was  always  known,  and  with  which  he  is  represented  to  this 

day.     He  died  at  the  advanced  age  of . 

The  ridiculous  combinations  found  in  this  game  make  it 
very  funny. 

Comic   Historical   Tableaux 

are  very  amusing,  and  being  impromptu  require  no  preparation 
beforehand. 

As  in  charades,  the  company  must  divide  into  two  parties. 
But  instead  of  acting  as  in  charades,  one  party  decides  what 
event  in  history  they  will  represent,  and  then  they  form  a  tab- 
leau to  illustrate  the  event,  making  it  as  ridiculous  as  possible. 
The  other  party  must  try  and  guess  what  the  tableau  is ;  if  they 
are  successful,  it  is  their  turn  to  produce  a  tableau,  if  not,  the 
first  party  must  try  another  subject,  and  continue  to  do  so  until 
the  subject  of  their  tableau  is  correctly  guessed. 

We  will  give  a  few  suggestions  for  the  tableaux. 

BALBOA   DISCOVERING  THE   PACIFIC   OCEAN. 

Place  a  pan  of  water  on  the  floor  in  plain  sight  of  the  audi- 
ence ;  then  let  someone  dress  up  in  a  long  cloak  and  high- 
crowned  hat  to  personate  Balboa,  and  stand  on  a  table  in  the 
middle  of  the  floor,  while  the  rest  of  the  performers,  enveloped 
in  shawls,  crouch  around.  When  the  curtain  is  drawn  aside, 
Balboa  must  be  seen  looking  intently  through  one  end  of  a  tin 
horn,  or  one  made  of  paper,  at  the  pan  of  water. 

NERO  AT  THE  BURNING  OF  ROME. 

Nero,  in  brilliant  robes  made  of  shawls,  sits  on  a  table,  sur- 
rounded by  his  courtiers,  who  are  also  in  fantastic  costumes. 
Nero  is  in  the  act  of  fiddling,  his  fiddle  being  a  small  fire  shovel, 


342  Winter. 


and  the  bow  a  poker.  On  the  floor  in  front  of  the  group  is 
placed  a  large  shallow  pan  or  tray,  in  which  is  set  a  small 
house,  which  has  been  hastily  cut  from  paper.  A  lighted  match 

is  put  to  the  paper  house 
just  as  the  curtains  are 
parted. 

These  two  sugges- 
tions will  no  doubt  be 
sufficient  to  show  what 
the  tableaux  should  be 
like  and  we  need  give 
no  further  illustrations. 

Living  Christmas 
Cards. 

To  impart  seeming 
life  to  the  little  figures 
painted  on  the   Christmas 
cards,  is  a  performance  in- 
tensely amusing  to  the  lit- 
tle  ones.      A   moving  toy  whose 
actions  are  life-like  is  always  of  great 
interest  ;  but  when  a  little  flesh-and- 
blood  head  is  seen  nodding  and  twisting 
upon  the  shoulders  of  a  figure  painted  on  a 

Fig.  248.— Manner  of  Hold-  r 

ing  card.  card,  the  children  fairly  shout  with  delight. 

Here  is  the  method  of  bringing  life  into  the  bits  of  paste- 
board. 

Select  cards  with  pretty  or  comical  figures,  whose  faces  are 
the  size  of  the  ends  of  your  first  or  second  finger.  Carefully 
cut  the  face  out  of  a  card  ;  then  with  ink  mark  the  features  on 
your  finger,  and  put  it  through  the  opening,  as  in  Fig.  248. 
Place  on  this  little  live  head  a  high  peaked  tissue-paper  cap,  and 


Amusements  and  Games. 


343 


the  effect  will  be  exceedingly  ludicrous  (Fig.  249).  A  little 
Santa  Claus  who  can  really  nod  and  bow  to  the  children  will  be 
very  amusing,  and  there  are  quite  a  number  of  Christmas  cards 
which  portray  the  funny,  jolly  little  fellow. 

Floral  cards  may  have  nodding  fairies  peeping  out  from 
among  the  petals  of  the  flowers,  whose  heads  are  fe  crowned 
with  queer  little  fairy  caps,  as  in  Fig.  250.  If  1 1  among 
your  collection  you 
have  a  card  with  a 
picture  of  a  house  on 
it,  it  will  be  amusing 
to  thrust  a  little  head 
wearing  a  night-cap, 
out  of  one  of  the  win- 
dows. Round  holes 
will,  of  course,  have 
to  be  cut  in  the  cards 
wherever  the  heads 
are  to  appear. 

Still  another  way 
of  managing  these 
living  puppets  is  to 
cut  in  a  piece  of  card- 
board, five  inches 
long  and  two  inches 
wide,  three  round 
holes  a  little  more 
than  half  an  inch 
apart.  Sew  around 
the  edge  of  the  card- 
board a  gathered  curtain  of  any  soft  material  six  inches  deep. 
Sketch  faces  on  three  of  your  fingers,  pass  them  under  the 
curtain  and  through  the  holes  in  the  cardboard.  The  cur- 


Fig.  249.— Live  Head  with  Peaked  Cap, 


344 


Winter. 


tain  will  fall  around  and  conceal  your  hand,  leaving  the  three 
heads  appearing  above  (Fig.  251).  On  these  heads  place  any 
kind  of  head-dress  you  choose,  making  them  of  paper ;  or 


Fig.  250 — Nodding  Fairies. 

caps  of  white  swiss  look  quaint,  and  wee  doll  hats   may  be 
worn. 

It  is  best  to  use  a  little  mucilage  or  paste  in  fastening  the  hats 


Amusements  and  Games. 


345 


on,  that  there  may  be  no  danger  of  their  falling  off  with  the 
movement  of  the  fingers. 

The  hair  may  be  inked,  or  little  wigs  made  of  cotton  can  be 
used. 


Fig.  251.— Living  Puppets. 

If  the  little  faces  are  painted  with  water  colors,  giving  color 
to  the  cheeks  and  lips,  the  life-like  appearance  will  be  enhanced. 

These  little  personages  can  be  made  to  carry  on  absurd 
conversations,  and  a  great  deal  of  expression  be  given  to  the 
bobbing  and  turning  of  their  heads.  One  person  can  easily 
manage  the  whole  thing,  and  entertain  a  roomful  with  the  per- 
formance of  the  living  puppets. 


CHAPTER  XXXI. 


NEW  YEAR'S  AND  A  LEAP  YEAR  PARTY. 


earliest  recollection  of  New 
Year's  day  is  of  being 
awakened  at  midnight  by 
the  clangor  of  the  fire 
bells,  and  the  ringing  of 
the  church  bells,  as  they 
swung  and  rocked  in  their 
high  steeples  and  cupolas, 
shouting,  Happy  New 
Year  !  from  their  brazen  throats  to  all  the  sleeping  town.  Not 
being  thoroughly  conversant  with  bell  language,  I  was  very 
much  alarmed  because  they  seemed  to  say  "  Come,  get  up — 
Come,  get  up — House  on  fire — House  on  fire  !  "  but,  upon 
opening  my  eyes,  I  was  assured  that  they  were  ringing  in  the 
New  Year,  and,  as  I  again  fell  asleep,  the  bells  were  saying 
distinctly,  "Wish  you  Happy  New  Year — Wish  you  Happy 
New  Year." 

Next  day  the  table  was  decked  with  flowers,  and  was  laden 
with  roast  turkey,  fruits,  salads,  and  mince-pies.  Oh,  my  !  what 
delicious  mince-pies  they  were  !  None  since  have  ever  tasted 
as  good  as  those  made  and  baked  by  my  grandmother. 

I  often  wonder  if  the  next  generation  of  grandmammas  will 
make  such  cookies,  mince  pies,  and  doughnuts  as  ours  did  ; 
but  this  was  in  Kentucky,  and  you  know  that  we  still  observed 


348  Winter. 


the  old-fashioned  customs,  and  all  day  long  the  gentlemen  came 
dropping  in  by  twos  and  fours,  and  such  handshaking  and 
laughing,  and  such  courtly  compliments,  and  such  a  bowing  and 
a  wishing  of  Many  Happy  New  Years,  it  does  me  good  to  think 
of.  Who  knows  but  that  so  many  kind  wishes  of  a  long  and 
happy  life,  sincerely  given,  may  really  help  to  bring  it  to  pass. 

Small  as  I  was  at  the  time,  and  little  as  I  understood  the 
customs  or  conversation,  the  spirit  of  the  whole  day  was  intel- 
ligible and  appealed  to  the  little  child,  perhaps  more  forcibly 
than  to  the  grown-up  people. 

It  is  really  too  bad  that  the  crowded  states  of  our  large  cities 
tend  to  lead  to  the  gradual  decline  of  the  custom  of  New  Year's 
calls,  so  that  now  many  people  confine  themselves  to  sending 
and  receiving  cards,  making  the  always  stiff  and  formal  bits  of 
engraved  pasteboard,  do  all  the  calling  and  receiving  ;  but 

New  Year's  Parties 

are  not  out  of  date,  so  we  will  have  one  on  New  Year's  Eve,  be- 
cause then  young  and  old  are  privileged  to  sit  up  all  night,  that 
is,  until  after  twelve  o'clock  midnight,  and  have  all  the  fun  pos- 
sible. Let  us  begin  our  frolic  with  a 

Pantomime  of  an  Enchanted  Girl. 

For  this  a  damp  sheet  must  be  fastened  up  across  the  room 
or  between  the  folding  doors  of  the  parlor.  First,  fasten  the 
corners  of  the  sheet,  next,  the  centre  of  each  of  the  four  sides, 
in  order  that  the  cloth  may  be  perfectly  smooth  ;  then  place  a 
lighted  candle  on  the  floor,  about  four  or  five  feet  from  the  cen~ 
tre  of  the  curtain.  When  the  lights  in  the  room  occupied  by 
the  audience  are  turned  out,  leaving  it  in  total  darkness,  so  the 
shadows  of  the  actors  behind  the  curtain  may  be  seen  on  the 
screen,  someone,  standing  outside  of  the  curtain  and  facing  the 


New  Year's  Party.  349 

audience,  should  explain  or  relate  the  story  of  the  play  :  of  how 
a  young  girl,  while  walking  out  on  the  last  day  in  November, 
meets  Halloween,  who  presents  her  with  three  gifts  to  try  her 
fortune,  and  how,  when  she  is  about  to  do  so,  a  witch  enchants 
her,  etc.  After  the  story  is  finished,  and  a  lively  overture  has 
been  performed  on  some  musical  instrument,  the  pantomime  is 
played  as  follows  : 

The  young  girl  personating  the  enchanted  one,  comes  gayly 
forward  from  the  side,  when  almost  across  the  curtain  she  meets 
Halloween,  who  approaches  from  the  opposite  side,  arrayed  in 
short  dress,  with  wings  made  of  newspaper  folded  fan  fashion, 
and  fastened  on  the  shoulders  ;  in  her  hand  she  carries  a  cane 
with  a  silhouette  of  a  cat,  or  two  or  three  stars  and  a  crescent  cut 
of  stiff,  brown  paper  and  pasted  on  the  end  ;  the  cane  is  so  held 
that  the  profiles  of  the  figures  are  kept  toward  the  curtain. 
Seeing  this  queer  being  the  young  girl  clearly  demonstrates,  by 
her  actions,  that  she  is  alarmed.  When  Halloween  quiets  her 
fears,  by  surely  and  plainly  indicating  with  slow  movements  of 
the  head,  and  downward  motions  of  the  arms  that  no  harm  is 
intended,  they  shake  hands;  then  Halloween  shows  the  maiden 
three  gifts,  an  apple,  a  hand-mirror,  and  an  unlighted  candle. 
Before  presenting  them  she  illustrates  by  gestures,  the  use  to  be 
made  of  each.  Holding  the  mirror  in  front  of  her  face,  she  bites 
the  apple,  then  looks  quickly  around,  as  if  expecting  to  see 
someone,  and,  again  holding  up  the  mirror  in  one  hand  and  the 
candle  in  the  other,  she  takes  a  few  steps  backward,  when  a  boy 
enters  by  jumping  over  the  light,  which  gives  the  appearance  of 
his  having  fallen  down  from  the  sky,  Halloween  looks  around, 
and  the  boy  quickly  disappears  in  the  same  manner  as  he  came. 

All  this  time  the  girl  stands  transfixed,  with  her  hands  raised 
and  all  the  fingers  spread  out  in  astonishment ;  she  receives  the 
presents  which  are  given  with  many  nods  and  gestures.  As  Hal- 
loween walks  away  the  fortune-seeker  turns  and  watches  her 


350  Winter. 


with  a  telescope  made  of  a  roll  of  paper  she  finds  at  her  feet  on 
the  floor.  The  maiden  then  proceeds  to  examine  the  gifts  ;  as 
she  takes  up  the  apple  and  mirror,  her  hand  is  stayed  by  a 
witch  with  flowing  hair,  who  has  approached  unperceived, 
carrying  under  one  arm  a  broom,  and  wearing  on  her  head  an 
ordinary  hat  with  a  piece  of  newspaper  rolled  up  and  pinned  on 
to  form  a  peaked  crown.  She  motions  to  the  girl  to  be  seated  ; 
then  stands  over  her  and  makes  passes  in  the  air,  and  taking  up 
her  broom  from  the  floor  makes  grand  flourishes  and  departs 
walking  back  towards  the  candle,  which  causes  her  shadow  to 
grow  larger  and  larger.  The  poor  girl  looks  anxiously  around 
and  discovers  she  has  been  enchanted,  for  there  are  three  girls 
instead  of  one;  this  effect  is  produced  by  two  more  lighted 
candles  being  placed  on  the  floor  on  either  side  of  the  first  can- 
dle, and  every  movement  the  girl  makes  is  mimicked  by  her 
other  selves.  The  candles  are  removed  and  the  Old  Year  in- 
stantly appears,  his  figure  bent,  a  piece  of  fringed  paper  pasted 
on  his  chin  for  a  flowing  beard,  and  carrying  in  his  hand  a  cane 
with  a  piece  of  stiff  paper  fastened  on  to  represent  a  scythe. 
Discovering  him  the  girl  runs  forward  to  tell  her  sorrows,  and 
finds  that  it  is  only  when  alone  that  she  is  enchanted,  for  when 
she  attempts  to  point  out  her  other  selves  they  have  dis- 
appeared ;  making  many  gestures  she  looks  here  and  there  for 
them,  but  in  vain,  then  as  the  Old  Year  leaves  she  bids  him  a 
sorrowful  adieu.  Again  alone,  the  facsimiles  reappear  and  she 
grows  desperate,  so  do  the  other  two  selves,  she  throws  her  arms 
about,  skips,  jumps,  and  dances  wildly  around,  the  other  selves 
do  likewise,  and  at  the  same  time  they  are  made  to  pass  and 
repass  her,  by  two  persons  taking  up  the  two  extra  lights,  and, 
keeping  the  lights  facing  the  curtain,  walking  back  and  forth, 
passing,  and  repassing  each  other  but  never  stepping  in  front  of 
the  candle  on  the  floor.  In  the  midst  of  the  dancing  the  two 
extra  candles  are  taken  away  and  immediately  the  little  New 


New   Year's  Party.  351 

Year  enters,  crowned  with  a  paper  star  and  wearing  wings  of 
paper.  The  young  girl  rushes  to  meet  the  New  Year  with  a 
hearty  greeting,  she  then  tells  him  of  her  enchantment,  counting 
the  three  selves  by  holding  up  the  first  finger  of  the  right  hand 
three  times  in  succession,  and  while  the  New  Year  makes  gest- 
ures that  indicate  advice  the  maiden  listens  with  her  hand  to 
her  ear,  and,  promising  by  signs  to  be  a  good  girl,  she  kneels 
down,  and  the  little  New  Year  raises  both  hands  above  her 
head,  then,  kissing  her  hand  to  the  maiden,  departs. 

The  glad  New  Year  has  disenchanted  her,  she  carefully 
looks  this  way  and  that,  but  seeing  all  is  well  she  tosses  her 
head,  dances  around,  makes  a  courtesy,  kisses  both  hands  to 
the  audience  and  disappears. 

When  the  play  is  over,  and  just  as  the  clock  strikes  twelve, 
the  party  can  instantly  change  its  character  if  it  is  leap-year 
and  become  a 

Leap-Year  Party 

for  the  remaining  hour  or  so,  thereby  creating  a  great  deal 
more  merriment  and  sport ;  the  novelty  of  the  fact  that  the  girls 
exchange  places  with  the  boys  makes  everything  appear 
strange.  And  when  the  music  commences  for  dancing  the 
girls  look  from  one  to  another,  no  one  at  first  having  the  cour- 
age to  invite  a  partner  to  dance,  so  unaccustomed  are  they  to 
even  the  thought  of  such  a  thing.  The  boys  of  course  laugh, 
and  make  no  move  to  assist  their  timid,  would-be  partners  in 
the  part  they  must  play,  but  quietly  await  the  expected  invita- 
tion. When,  however,  someone  takes  the  initiative  step,  the 
others  follow,  and  all  goes  merrily. 

The  supper  presents  a  new  phase,  but  here  the  girls  do  their 
part  perfectly,  providing  all  the  boys  with  a  plentiful  repast,  and 
each  one  is  made  to  feel  that  his  presence  is  necessary  to  the  suc- 
cess of  the  party,  thereby  insuring  a  happy,  pkasant  time  for  all. 


352  IVinter. 


In  giving  a  leap-year  party  it  is  very  essential  that  all  the 
guests  understand  perfectly  that  the  idea  of  the  entertainment 
is  to  have  the  girls  take  upon  themselves  all  the  duties  and 
courtesies  properly  belonging  to  the  boys,  and  that  the  boys 
shall  wait  for  an  invitation  before  dancing,  promenading,  or 
partaking  of  refreshments,  and  that  a  boy  should  not  cross  the 
floor  unattended,  but  wait  for  some  fair  friend  to  escort  him. 
The  girls  are  at  liberty  to  go  and  come  as  they  like,  though  they 
must  remember  not  to  leave  a  partner  standing  after  the  dance 
is  over,  but  politely  conduct  him  to  a  seat,  and  the  girls  must 
also  endeavor  to  make  the  party  pleasant  and  agreeable  to  all. 
The  chaperons,  of  course,  should  have  charge  of  the  boys  dur- 
ing the  entertainment. 

The  leap-year  party  need  not  necessarily  be  a  dancing 
party,  as  any  social  gathering  can  take  the  form  of  a  leap-year 
party. 

When  an  entertainment  is  given  on  the  eve  of  a  new  leap- 
year,  with  a  view  to  dancing  the  old  year  out  and  the  new  year 
in,  just  as  the  clock  strikes  twelve  the  party  can  immediately 
change  into  a  leap-year  party  as  described,  or  should  the  New 
Year  be  a  common  year,  then  as  the  time  flies  and  the  hands 
of  the  clock  approach  the  hour  of  twelve  all  are  on  the  qui  vive 
to  be  the  first  to  have  the  pleasure  of  greeting  their  friends  with 
a  Happy  New  Year. 


CHAPTER    XXXII. 
HOME    GYMNASIUM. 

VERYONE  must  exercise  to  keep  healthy 
and  strong,  for  life  is  motion  and  activ- 
ity. It  is  natural  to  be  well  and  happy, 
and  to  keep  so  we  must  exercise  all  our 
muscles,  as  well  as  our  moral  and  intel- 
lectual faculties,  or  they  will  dwindle 
and  wither.  The  arm  of  the  Hindoo 
devotee,  not  being  used,  at  length  be- 
comes completely  paralyzed,  and  fish  in  the  Mammoth  Cave 
having  no  use  for  eyes  pass  their  life  without  them  ;  so  we  find 
that  use  is  the  foundation  of  all  things,  otherwise  they  would 
cease  to  exist ;  then,  girls,  it  lies  within  your  power  to  become 
stronger  and  more  graceful  each  day  by  regular  and  graduated 
bodily  exercise,  which  will  bring  life  and  energy  to  every  part 
of  your  system  by  causing  the  blood  to  circulate  freely  through 
all  the  body. 

There  are  some  simple  methods  of  carrying  this  into  effect 
in  the  most  agreeable  and  salutary  manner,  but  the  exercises 
must  be  very  light  at  first,  and  as  you  advance  they  may  be 
increased  a  little  each  time,  but  always  stop  before  you  fee1 
fatigued,  for  when  the  calisthenics  cease  to  give  pleasure  it  is 
doubtful  if  they  are  beneficial. 

The  best  time  for  exercising  is  in   the  morning  after  having 
partaken  of  some  light  refreshments,  though  any  time  will  do 
23 


Home  Gymnasium.  355 

except  directly  after  hearty  meals.  Try  and  have  a  regular 
time  set  apart  each  day  for  your  physical  culture.  Commence 
by  exercising  five  or  ten  minutes,  then  for  a  little  longer  period 
next  time,  and  so  on  until  you  can  exercise  with  ease  for  half  an 
hour  or  longer.  You  will  feel  refreshed,  invigorated,  and  better 
prepared  for  the  duties  and  pleasures  which  await  you.  Your 
clothing  must  not  incommode  the  free  action  of  the  body,  and 
it  is  essential  that  it  be  comfortable.  What  is  suitable  for  lawn 
tennis  is  also  well  adapted  for  the  gymnasium.  An  ordinary 
bathing-dress  answers  the  purpose  very  well,  as  it  is  made  for 
exercise. 

The  Egyptian  water-carrier,  with  the  jug  of  water  poised  so 
prettily  on  her  head,  and  her  figure  so  straight  and  beautiful, 
has  always  challenged  admiration ;  her  carriage  is  dignified, 
erect,  and  graceful,  something  worth  striving  for,  especially 
when  we  have  the  certainty  of  success  if  we  will  only  be  faith- 
ful and  persevering.  The  peasantry  of  foreign  countries  who 
carry  all  their  burdens  balanced  on  their  heads  have  their 
reward  in  healthy,  strong,  straight  figures,  even  in  old  age 
they  do  not  stoop.  Witness  the  emigrants  landing  at  Castle 
Garden  who  carry  their  possessions  done  up  in  huge  bundles 
on  their  heads  with  the  utmost  ease  ;  of  this  class,  three  gen- 
erations— a  grandmother,  mother,  and  grown  daughter — with 
baggage  of  the  same  weight  on  their  heads,  were  lately  seen 
at  a  New  York  ferry,  each  equally  upright,  strong,  and  vig- 
orous. 

A  good  straight  back  is  an  excellent  thing  ;  and  when  the 
head  is  properly  carried  and  all  the  movements  are  buoyant 
and  elastic,  then  we  may  walk  as  it  was  intended  we  should, 
every  step  bringing  a  glow  to  the  cheek  and  a  sparkle  to  the 
eye.  It  requires  only  a  few  minutes'  regular  daily  exercise  for 
any  girl  to  attain  a  carriage  equal  to  that  of  the  Egyptian 
water-carrier,  and  the  only  apparatus  needed  for 


356 


Winter. 


Exercise    First 

is  a  roll  of  paper.  Now  stand  with  your  heels  together,  toes 
out,  and  shoulders  well  back  ;  then  place  on  your  head  the  roll 
of  paper  ;  if  your  position  is  not  perfectly  erect  the  roll  will  fall 
off;  keep  your  chin  straight  and  back  against  your  neck,  for  it 
is  the  chin  which  determines  the  poise 
of  the  body.  You  cannot  stand  straight 
unless  the  chin  is  straight ;  throw  out 
your  chin  and  your  shoulders  will  stoop 
forward,  have  your  chin  straight  and 
your  back  will  be  straight ;  bear  this  in 
mind  in  all  your  exercises.  Now  walk, 
keeping  the  roll  balanced  on  your  head 
(Fig.  252).  Practice  this  walking  back 
and  forth  until  you  can  do  so  without 
the  paper  rolling  off;  then  try  a  tin  cup 
full  to  the  brim  with  water.  Walk  erect 
or  the  water  will  wash  over,  down  on 
your  head,  and  it  will  feel  cold  as  it 
trickles  through  your  hair  ;  soon,  how- 
ever, you  will  be  able  to  carry  the  cup 
of  water  with  ease  and  no  danger  of  its 
spilling.  But  do  not  discontinue  the 
practice  on  that  account ;  try  something 
else  in  its  place,  until  you  are  able  to 
carry  anything  you  wish  on  your  head 
with  no  fear  of  it  falling.  The  exercise  affords  amusement,  and  at 
the  same  time  you  will  be  acquiring  a  beautiful,  dignified,  and 
graceful  carriage. 

Exercise    Second 

is  for  gaining  agility,  suppleness,  quickness  of  eye,  hand,  and 
foot.    Standing  as  far  from  the  wall  as  possible,  take  a  common 


Fig.  252 Balancing  a  Roll  of 

Paper. 


Home  Gymnasium. 


357 


rubber  hand-ball  and  toss  it  against  the  wall,  catching  it  as  it 
rebounds  (see  illustration),  and  again  toss  it  against  the  wall. 
Vary  this  by  allowing  the  ball  to  strike  the  floor,  catching  it 
on  the  rebound  ;  then  try  keeping  the  ball  in  constant  motion 
by  using  first  one  hand  and  then  the  other  as  a  bat  for  return- 
ing the  ball  to  the  wall.  The  exer- 
cise  can  also  be  changed  by  striking 
the  ball  against  the  floor,  and  on  its 
return  bound  again  striking  it,  thus 
keeping  it  in  motion.  You  will  find 
that  activity  is  necessary,  and  the 
work  so  quick  that  it  will  keep  you 
on  the  jump  all  through  the  exercise. 

Exercise  Third 

is  with  a  broom-handle.     Saw  or  cut 
the   broom   and   smooth  down  the  sharp 
ends  of  the  handle,  and  it  will  be  ready 
for  use.     Stand  erect,  heels  together, 
out,  chin  well  back  and  straight,  so  as 
throw  out   and   expand  the   chest.     Now 
grasp  firmly  each  end   of  the  broomstick 
and  bring  it  up  over  the  head  (Fig.  253)  ; 
repeat   this   motion   six   or  seven    times  ; 
then  change  by  carrying  the  broomstick  rig.  253.— Broom-handle 
over  back   of  the   head   down   across  and 

back  of  the  shoulders  ;  then  up  above  the  head  again,  repeat- 
ing this,  and  all  other  motions  in  your  calisthenics,  half  a 
dozen  times.  Another  exercise  is  holding  the  stick  down  in 
front  of  you  with  both  hands  and  bringing  it  up  over  the  head 
and  down  back  of  the  shoulders  without  stopping. 

The   side  motion  is  made  by  grasping  the  broomstick  at 
each  end,  holding  it  down  in  front  of  you,  and  swinging  it  side- 


toes 


to 


358  Winter. 


ways,  thus  bringing  the  right  hand  up  when  the  left  is  down, 
and  vice  versa.  Another  way  is  to  hold  the  stick  by  both  ends 
above  your  head  and  swing  it  from  one  side  to  the  other, 
which  will  cause  the  right  arm  to  come  in  contact  with  the 
right  side  of  the  head,  while  the  left  arm  is  extended  out  hori- 
zontally to  the  left.  Next  carry  the  stick  back  of  and  against 
the  shoulders  ;  then  swing  it  from  right  to  left,  which  gives 
another  side  movement.  Vary  all  the  movements  in  as  many 
different  ways  as  you  can  think  of. 

Exercise    Fourth. 

Stand  erect  always  when  in  position  for  exercising,  accord- 
ing to  the  directions  given — heels  together,  toes  out,  etc.  Now 
allow  your  arms  to  hang  naturally  down  at  your  sides,  raise 
your  heels,  and  stand  on  your  toes  ;  now  lower  the  heels  and 
repeat  the  motion  ;  then  close  your  hands  tightly  and  raise 
your  arms  out  sideways  at  right  angles  with  your  body,  next  up 
straight  above  your  head,  and  down  again  to  the  level  of  the 
shoulders,  then  back  down  to  your  sides  as  at  first. 

Again  take  position,  close  your  hands  tightly,  and  raise  them 
up  under  the  arms,  bringing  the  elbows  out  to  a  level  with  the 
shoulders  ;  then  bring  your  hands  down  at  your  sides  again  and 
repeat  the  movement  vigorously  ;  resume  position,  firmly  close 
your  hands  and  carry  them  up  to  the  shoulders,  next  extend 
them  up  straight  above  your  head,  down  again  to  your  shoul- 
ders, and  back  to  the  first  position.  A  very  good  exercise  is  to 
extend  both  arms  straight  out  in  front  of  you,  close  your  hands 
and  bring  them  back  to  your  chest,  which  will  cause  the  bent 
elbows  to  project  beyond  your  back. 

Exercise  Fifth. 

Assume  position,  close  your  hands,  and  take  one  long  step 
forward  with  your  right  foot,  bend  the  right  knee  and  stand 


Home  Gymnasium. 


359 


with  your  weight  resting  on  the   right  foot  ;  then  extend  your 

arms  out  sideways  straight  from  the  shoulders,  now  bring  your 

hands  together  in  front  of  you,  still 

keeping  the  arms  on  a  level  with  the 

shoulders,  and  while  doing  so  throw 

the    body    back,    straightening    the 

right  knee  and  bending   the  left  so 

the  weight  of  the  body  will  rest  on 

the  left  foot ;  repeat  this  and  vary  it 

by  taking  one  step  forward  with  the 

left  foot  and  going  through  with  the 

same  motions. 

Resume  position,  and  place  your 
hands  on  your  hips,  with  your  thumbs 
turned  forward  and  fingers  backward. 
Now  take  a  long  step  forward  with  your 
right  foot,  throwing  the  weight  on  that 
foot,  then  back  again  in  position,  and  in 
the  same  manner  step  forward  with  your 
left  foot  and  back  again  ;  next  take  a  step 
backward  with  your  right  foot,  resume 
position,  and  then  with  your  left. 

Again  stand  with  your  hands  on  your 
hips,  thumbs  turned  forward,  and  without 
bending  your  knees  move  the  body,  first 
bending  it  forward,  then  backward,  and 
resuming  an  upright  position,  bend  over  to  the  right  and  to  the 
left. 

Exercise    Sixth. 

In  this  the  broomstick  is  used  for  balancing ;  hold  it  in  an 
upright  position,  and  first  try  balancing  it  on  the  palm  of  your 
hand  ;  then  on  the  back  of  your  hand,  next  on  each  of  the  fingers 
in  succession,  commencing  with  the  first  finger  (Fig.  254)  ;  be 


Fig.  254.— Balancing 
Broom-handle. 


360  IVinter. 


cautious,  and  when  the  stick  wavers  do  not  let  it  fall,  but  catch 
it  with  the  other  hand,  and  again  balance  it.  This  is  an  inter- 
esting, light,  and  diverting  exercise,  requiring  all  your  attention, 
and,  for  the  time  being,  your  thoughts  are  concentrated  on  the 
effort  to  keep  the  broomstick  properly  balanced. 

Exercise  Seventh. 

Pure  blood  means  good  health,  and  to  purify  the  blood  and 
keep  the  complexion  clear  it  is  essential  that  you  breathe  a 
sufficient  quantity  of  pure  air,  and  you  cannot  take  in  a  proper 
amount  of  air  unless  your  lungs  are  wholly  extended.  So  take 
position  with  your  hands  correctly  placed  on  your  hips  ;  then 
very  slowly  draw  in  your  breath  until  your  chest  and  lungs  are 
fully  expanded  ;  next  slowly  exhale  your  breath,  and  repeat 
the  exercise. 

Exercise  Eighth. 

Screw  in  two  large,  strong  hooks  in  the  woodwork  on  each 
side  of  the  doorway  ;  place  the  hooks  as  far  above  your  head 
as  you  can  conveniently  reach  ;  slide  the  broomstick  in  so  that 
it  will  extend  across  the  doorway  and  be  supported  by  the 
hooks  ;  have  the  apparatus  on  that  side  of  the  doorway  where 
it  will  not  interfere  with  the  opening  and  closing  of  the  door,  and 
be  sure  that  it  is  perfectly  secure  before  attempting  to  exercise  ; 
each  time  before  commencing  a  new  movement  examine  the  stick, 
and  be  certain  that  it  is  not  in  any  danger  of  slipping  from  the 
hooks.  Unless  you  can  be  perfectly  safe  from  liability  to  hurts 
or  falls,  do  not  include  this  in  your  list  of  exercises. 

For  the  first  movement  grasp  the  bar  firmly  with  both 
hands  and  swing  the  body  forward  and  backward,  standing  first 
on  the  toes,  then  on  the  heels  ;  next,  still  grasping  the  bar,  raise 
up  on  your  toes,  then  back  again.  Change  the  movements  in 


Home  Gymnasium. 


361 


as  many  ways  as  you  like,  but  do  not  try  anything  that  may 
strain  or  hurt  you.  Now  screw  in  two  more  hooks,  on  either 
side  of  the  woodwork,  below  the  first  ones,  placing  them  about 
two  feet  and  eight  inches  from  the  floor  ;  take  the  stick  from 
its  elevated  position  and  slide  it  across  the  doorway  so  it  will 
rest  securely  on  the  two  lower  hooks.  Standing  in  front 
of  it,  grasp  the  bar  firmly  with  both  hands  and  try  to  raise 
yourself  up,  feet  and  all,  from  the  floor  by  bearing  your  weight 
down  on  the  bar  ;  then 
let  yourself  gently  back 
again.  When  you  have 
finished  exercising,  re- 
move the  stick  and  put 
it  away. 

Exercise  Ninth. 

In  the  top  part  of 
the  framework  of  the 
doorway  fasten  a  very 
strong  hook  by  screw- 
ing it  into  the  wood  ; 
then  take  a  broomstick 
and,  after  shortening  it 
so  that  when  held  in  a 
horizontal  position  it  will  readily  pass  through  the  doorway, 
cut  notches  in  each  end  and  securely  tie  the  two  ends  of  a  rope 
across  the  notches ;  suspend  this  swing  by  slipping  the  centre 
of  the  rope  over  the  hook  in  the  doorway  (Fig.  255)  5  have 
the  apparatus  strong  and  firm,  capable  of  any  amount  of  wear 
and  tear.  Stand  facing  the  stick,  which  should  be  at  the  height 
of  the  chest,  and  take  hold  of  it  with  both  hands ;  now  bend 
the  knees  until  they  are  within  a  short  distance  of  the  floor, 


Fig.  255.— The  Swing. 


362  Winter. 


then  rise  and  repeat  the  exercise.  Next,  with  both  hands  on 
the  stick,  take  a  long  step  forward  with  the  right  foot,  throwing 
the  weight  on  that  foot ;  return  to  your  position  and  go  through 
the  same  exercise  with  your  left  foot.  Try  different  movements 
which  suggest  themselves,  and  select  those  you  like  best.  When 
not  in  use  the  swing  can  be  slipped  off  the  hook  and  put  out  of 
the  way. 

Exercise  Tenth. 

To  develop  a  weak  voice  and  make  it  clear  and  sweet,  and  to 
strengthen  the  lungs,  reading  aloud  is  an  excellent  exercise  ;  as 
it  requires  both  mental  and  muscular  exertion  and  performs  a 
double  duty,  it  should  receive  a  full  share  of  time  and  atten- 
tion. Begin  with  something  you  are  interested  in,  then  you 
will  find  it  much  easier  to  read  aloud  than  if  you  undertook  a 
book  or  an  article  which  might  be  full  of  merit,  but  lack  interest 
for  you.  When  commencing  this  exercise  read  only  ten  min- 
utes or  less  at  a  sitting,  increasing  the  time  as  you  practise  and 
the  reading  grows  less  difficult.  Do  not  be  discouraged  if  your 
voice  sounds  a  little  husky  while  reading  ;  stop  a  moment,  and 
then  go  on  again.  After  a  few  trials  you  will  have  no  more 
trouble  in  that  way,  for  your  voice  will  grow  clear  and  distinct, 
and  the  exercise  will  become  a  great  pleasure  as  well  as  an  at- 
tractive, useful  accomplishment. 

Let  your  reading  matter  be  very  choice  and  of  the  best  ;  do 
not  condescend  to  waste  your  time  on  other  writings. 

From  the  ten  different  exercises  given,  select  those  best 
adapted  to  your  size,  age,  and  liking,  and  practise  them  for  a 
short  time  daily  ;  you  can  hardly  realize  the  great  advantage  they 
will  prove  to  be.  In  this  way  all  parts  of  the  system  may  be 
strengthened  and  harmoniously  developed.  But  the  constitu- 
tion cannot  be  hurried  :  all  must  be  accomplished  little  by  little. 
Allow  yourselves  to  be  happy  and  merry;  be  ready  to  enjoy 


Home  Gymnasium. 


363 


the  little  pleasures  of  life,  and  this,  with  kind  and  generous  feel- 
ings for  others,  will  do  a  great  deal  toward  keeping  you  well 
and  strong. 

Out-of-door  exercise  is  always  to  be  preferred  to  in-door 
when  one  has  a  choice.  Walking,  tennis,  archery,  horseback, 
and  swimming  are  some  of  the  athletic  sports  for  girls,  and  they 
all  have  their  attractions.  But  there  are  times  when  we  are  de- 
nied the  pleasure  of  these  pastimes,  and  then  we  are  glad  of  a 
little  exercise  in-doors,  which  also  affords  enjoyment  and  recre- 
ation. 


CHAPTER    XXXIII. 

A   DECORATIVE    LANGUAGE. 

HEN  in  olden  times  the  warriors  went 
around  the  country  dressed  in  suits  of 
clothes  made  by  a  blacksmith  instead 
of  a  tailor,  their  hats  were  manufact- 
ured at  the  forge  also,  and  had  iron 
front  doors  that  moved  upon  hinges. 
When  danger  was  nigh  these  doers 
were  closed,  locked,  and  barred  over 
the  poor  men's  heads,  leaving  only  a 

loop-hole  or  two  for  them  to  peep  through.  At  such  times  in 
meeting  Mr.  Brown  it  was  impossible  to  distinguish  him  from 
Mr.  Smith,  who  was  arrayed  in  like  manner,  and  it  might  hap- 
pen that  Mr.  Smith  was  the  last  man  in  the  world  that  one 
cared  to  meet,  not  being  on  speaking  terms  or  some  such 
reason.  Well,  as  we  were  saying,  there  was  no  chance  what- 
ever of  telling  one  man  from  another  unless  he  wore  a  dis- 
tinguishing mark  of  some  kind. 

So  to  prevent  such  uncomfortable  mistakes  and  to  distin- 
guish friend  from  foe,  every  gentleman  had  to  be  marked  and 
labelled,  like  an  express  package,  so  one  might  read  as  he  ran, 
"  I  am  Earl  Jenkins,  of  Thunderland,  who  married  a  Rhazor,  of 
Stropshire."  These  names  and  addresses  were  not  painted  in 
words  on  their  owners  with  a  marking-brush,  but  worked  and 
embroidered  in  translatable  designs  on  cloaks,  saddle-housings, 


A  Decorative  Language.  365 

and  silken  banners,  or  emblazoned  on  the  shield  they  carried 
with  which  to  meet  the  advances  of  their  neighbors.  Since  that 
time  our  more  recent  ancestors  in  England  have  taken  great 
pride  in  preserving  and  handing  down  from  generation  to  gen- 
eration these  distinguishing  marks,  as  a  guarantee  to  their  chil- 
dren that  they  came  of  gentle  birth,  which  is  very  interesting 
and  gratifying  for  European  girls,  but  American  girls  need 
nothing  of  the  kind  ;  it  is  sufficient  that  we  are  Americans. 

Of  course,  some  of  us  do  take  pleasure  in  knowing  that  our 
great-great-grandparents  came  over  in  the  Mayflower,  or  that 
the  name  of  an  ancestor  is  among  the  signatures  upon  that  Dec- 
laration of  Independence  which  made  such  a  stir  a  century  ago, 
for  that  proves  us  to  be  Columbia's  daughters. 

When  there  was  no  other  method  of  distinguishing  a  man 
his  label  became  a  very  important  item  ;  so  these  family  devices 
were  reduced  to  a  science  and  protected  by  law. 

The  old  countries'  coats  of  arms  may  remain  abroad,  where 
they  belong,  but  the  ingenious  scheme,  that  was  gradually 
evolved,  of  picturing  ideas,  mottoes,  and  pretty  sentiments  we 
will  adopt  as  our  inheritance,  with  many  thanks  to  our  medi- 
aeval ancestors  with  the  metallic  clothes,  who  bequeathed  them 
to  us. 

We  propose  to  revive  enough  of  this  neglected  knowledge 
of  chivalry  to  serve  our  purpose  in  suggesting  a  method  of  de- 
signing devices  which  will  not  only  be  artistic  decorations,  but 
to  the  initiated  can  be  made  to  portray  almost  any  sentiment 
or  set  of  principles  the  artist  may  choose. 

The  many  uses  to  which  these  designs  can  be  applied  will, 
we  hope,  at  once  be  seen  by  the  quick-witted  American  girls., 
and  we  trust  will  interest  the  reader  as  much  as  they  do  the 
writer,  who  in  this  chapter  can  only  give  a  few  necessary,  brief 
hints  upon  the  subject,  sufficient,  however,  to  explain  the  appli- 
cation that  can  be  made  of  this  beautiful  and  perfect  system  of 


366 


Winter. 


Decorative  Language. 

In  the  following  directions  anyone  can  learn  how  to  make 
a  device  which  will  not  only  be  a  decoration,  artistic  in  form  and 
color,  but  will  at  the  same  time  express  the  peculiar  traits,  char- 
acteristics, and  virtues  of  the  friend  for  whom  it  is  intended,  or 
the  precept,  code,  proverb,  or  creed  of  the  designer.  All  tech- 
nical terms,  as  far  as  practicable,  are  discarded,  but  the  rules  of 
^- -j  heraldry  strictly  adhered  to,  with  such  simplifi- 
cations as  are  necessary  to  render  it  intelligible. 


Fig.256._The  Field. 


The  Field. 


The  surface  on  which  the  design  is  portrayed 


originally  it  was  supposed  to  represent  a  warrior's  shield,  but 
you  may  use  a  circle,  oval,  square,  diamond,  or  any  other  form. 


The  Points 

on  the   surface   of  the  shield  locate  the   exact  spot  where   a 


design    or    object   in 
Refer  by  numbers  to 

1.  Fess  point. 

2.  Honor  point. 

3.  Nombril  point. 

4.  Dexter  chief  point. 


heraldry  may  be  placed. 
Fig.  257. 

5.  Middle  or  chief  point. 

6.  Sinister  chief  point. 

7.  Dexter  base  point. 
Fig.  257._Foints.        8>  Middle  base  point. 

9.  Sinister  base  point. 


If  you  desire  to  place  a  flower  on  the  fess  point,  you  find 
that  it  means  the  exact  centre  of  the  shield,  and  so  on. 

The  devices  take  significance  in  accordance  with  the  more 
or  less  importance  of  their  position  on  the  shield  ;  the  honor 


A  Decorative  Language. 


367 


point  holds  the  highest  grade,  next  to  it  the  middle  or  chief 
point,  and  the  right  or  dexter  side  is  of  more  importance  than 
the  left  or  sinister. 

The  field  may  be  divided,  if  desired,  in  any  of  the  following 


Divisions, 

each  of  which  has  a  significance,  suggested  generally  by  the 
form  : 

Fig.   258,  the    Chief,  occupying   the   top    or  head    of  the 


Fig.  258.— Chief. 


Fig.  259.— Fess. 


Fig.  260.— Farted  per  Fess. 


shield,   indicates  pre-eminence,  main   object,  intelligence,  first 
principle. 

Fig-  259>  the  Fess,  denotes  cause  and  effect,  the  central 
band  containing  the  means  by  which  the  ends,  in  the  other 
spaces,  are  accomplished. 


\ 


Fig.  261.— Pale. 


Fig.  262.— Farted  per  Pale. 


Fig.  263.— Bend. 


Fig.  260  is  a  partition,  and  partakes  of  the  meaning  of  the 
division,  it  is  denoted  by  the  term,  parted  per  fess. 


368 


Winter. 


Fig.  261,  the  Pale,  represents  rectitude,  uprightness  ;  also 
union,  the  object  in  the  central  division  uniting  whatever  occu- 
pies the  dexter  and  sinister  sides. 

Fig.  262  is  parted  per  pale. 


T 


Fig.  264.~Parted  per  Bend. 


Tig.  265.— Chevron. 


N 

Fig.  266.— Cross. 


Fig.  263,  the  Bend,  is  auspicious,  meaning  prosperity,  suc- 
cess. 

Fig.  264  is  parted  per  bend. 

Fig.  265,  the  Chevron,  is  indicative  of  aid,  assistance,  support. 

Fig.  266,  the  Cross,  suggests  humility,  devotion,  patience, 
perseverance. 


Fig.  267.— Saltire. 


Fig.  268.— Pile. 


Fig.  269.— Canton. 


Fig.  267,  the  Saltire,  a  variation  of  the  cross,  is  recognized 
as  order,  discipline. 

Fig.  268,  the  Pile,  being  in  the  form  of  a  wedge,  means 
penetration,  incision,  entering  to  divide  or  distribute. 

Fig.  269,  the  Canton,  denotes  an  additional,  separate  idea 
or  principle  ;  also  some  characteristic  that  is  added  to  the  orig- 
inal design. 


Decorative  Language. 


369 


Colors. 

These  also  have  symbolical  meanings. 

Fig.  270. — Gold  or  yellow  is  expressed  in  black  and  white 
by  means  of  dots,  and  is  used  in  the  sense  of  wealth,  ability, 
or  knowledge. 

Fig.  271. — Silver  or  white  is  represented  by  a  plain  white 


Fig.  270.— Gold.  Fig.  271.— Silver.  Fig.  272.— Red. 

surface,  and  being  the  color  of  light,  signifies  brightness,  pur- 
ity,  virtue,  innocence. 

Fig.  272. — Red,  represented  by  perpendicular  lines,  means 
ardent  affection,  love. 

Fig.  273. — Blue  is  represented  by  horizontal  lines  ;  like  the 
color  in  the  heavens,  it  is  truth,  freedom,  eternity. 

Fig.  274. — Purple,  represented  by  diagonal  lines  from  sinister 


Fig.  273.-Blue.  Fig.  274.— Purple.  Fig.  275.— Green. 

chief  to   dexter  base,  being  the  royal  color,  is  understood  as 
authority,  power,  grandeur. 

Fig.  275- — Green  is  represented  by  lines  running  diagonally 
across    the    shield    from    dexter    chief  to  sinister   base.     Like 
spring  foliage,  it  suggests  hope,  life,  vitality,  youth,  freshness. 
24 


Winter. 


Fig.  276. — Orange  is  represented  by  horizontal  lines  crossed 
by  diagonal  lines  from  dexter  base  to  sinister  chief.  It  is  the 
color  of  the  king  of  beasts  and  signifies  strength,  honor,  gen- 
erosity. 

Fig.  277. — Crimson,  or  blood-color,  is  represented  by  dia- 


7 


/  S  / 


Fig.  276  —Orange. 


Fig.  277.— Crimson. 


Fig.  278.— Black. 


gonal  lines  from  dexter  chief  and  sinister  chief,  crossing  each 
other.  It  denotes  boldness,  enthusiasm,  impetuosity. 

Fig.  278. — Black  is  represented  by  horizontal  and  perpen- 
dicular lines  crossed.  It  means  darkness,  doubt,  ignorance, 
uncertainty. 

To  the  principal  design  portrayed  on  the  shield  can  be 
added  such  appendages  as  are  appropriate — crest  over  the  top 
and  a  scroll  with  a  motto  beneath  the  shield — but  they  are  sup- 
plementary, and  not  of  great  importance  ;  their  colors  should  be 
those  of  the  shield. 

Thus  far  our  plans  have  followed  the  exact  science  of 
heraldry,  but  at  this  point  comes  a  departure,  for  in  the  place 
of  other  armorial  devices  we  shall  place  Dame  Nature's  sweet- 
est thoughts — flowers. 

If  we  now  add  to  the  significance  of  the  forms  and  colors 
already  given  the  accepted  and  authentic  language  of  flowers, 
we  shall  have  a  possibility  of  combinations  practically  inex- 
haustible, and  with  such  a  dictionary  of  symbols  to  draw  upon, 
we  can  successfully  translate  almost  any  terse  sentiment  into  a 
unique  decorative  design. 


A  Decorative  Language. 


371 


In  order  to  give  all  the  assistance  in  our  power  we  have 
culled  from  the  most  generally  accepted  authorities  and  authentic 
sources  a  short  floral  vocabulary,  and  now  that  we  have  the 
material  at  hand  let  us  test  the  system  and  learn 


How  to  Make  a  Design  in  Decorative  Language. 

Suppose  our  Natural  History  Society  desires  an  appropriate 
pin  or  badge. 

First  we  turn  to  the  floral  vocabulary  and  there  find  that 
the  magnolia  means  love  of  nature.  The  flower  has  a  good 
decorative  form,  its  senti- 
ment is  exactly  appropri- 
ate, and  we  unhesitatingly 
adopt  it. 

After  trying  various 
forms  for  the  shield,  we 
select  a  very  plain  one  that 
the  effect  of  the  decorative 
form  of  the  magnolia  may 
not  be  lessened  by  too  or- 
nate surroundings,  and  to 
show  the  large  size  of  the 
blossom  we  must  have  it 
occupy  the  entire  field 
without  any  divisions. 
Next,  as  to  color  ;  let  us 
think.  White,  meaning 
brightness,  purity,  etc.? 
No.  Yellow  or  gold,  sig-  Fig.  279. 

nifying  wealth,  ability,  or — ah  !  here  we  have  it — knowledge? 
Yes,  that  will  do  nicely — a  love  of  nature  on  a  field  of  knowl- 
ledge  ;  that  certainly  is  appropriate.  But  the  top  of  the  shield 


372  Winter. 


being  so  square  and  plain  gives  the  device  an  unfinished  appear* 
ance.  Suppose  we  try  a  bar  over  it,  and  something  not  a  flower. 
As  we  wish  this  design  to  remain  simple,  a  leaf  of  some  kind 
would  be  best ;  so  we  return  to  the  floral  vocabulary,  and  after 
trying  many  and  almost  taking  several,  finally  decide  that  the 
oak  leaf  is  just  the  form  needed  to  give  a  finish  to  the  top,  and 
its  meaning,  strength,  will  be  an  excellent  element  in  the  society. 
There,  our  insignia  is  complete,  good  inform,  attractive  in  color, 
and  appropriate  in  its  meaning  ;  but  some  of  us  prefer  having 
the  motto  written  out  in  plain  English,  so  we  will  add  a  decora- 
tive scroll,  with  the  meaning  of  the  design  inscribed  "  True  Love 
of  Nature."  (See  Fig.  279.) 

To  familiarize  ourselves  with  the  working  of  the  method  let 
us  try  another  experiment,  and  take  the  sentiment,  <4  Wealth  is 
the  Reward  of  Industry/'  to  illustrate. 

After  deciding  on  the  form  of  the  shield,  we  turn  to  the  divis- 
ions, and  running  them  slowly  over  for  something  suitable,  stop 
at  Fig.  259,  the  Fess,  meaning  cause  and  effect.  That  sounds 
promising.  Industry  is  the  means  by  which  the  end,  wealth, 
is  accomplished.  Good  so  far.  We  can  now  see  that  a  floral 
emblem  to  represent  industry  should  be  placed  in  the  central 
division,  and  whatever  signifies  wealth  on  the  other  two  spaces. 
Among  our  legends  of  flowers  we  find  industry  portrayed  by  the 
bee  orchid,  and  wealth  and  prosperity  are  symbolized  by  wheat. 
That  is  plain  and  easy.  Now  we  have  only  to  decide  upon  ap- 
propriate colors  for  the  field  to  complete  the  design.  Gold 
would  mean  wealth,  but  that  we  have  in  the  wheat ;  besides  the 
yellow  of  the  wheat  would  not  show  well  on  the  gold  background, 
while  on  white  or  silver  the  contrast  is  strong  and  the  appear- 
ance agreeable.  Silver  denotes  innocence  and  virtue,  which 
are  so  necessary  that  without  them  wealth  would  be  undesirable. 
Therefore  silver  or  virtue  shall  be  the  groundwork  for  our  wealth* 
and  for  industry  we  will  select  purple  as  meaning  power.  In- 


Decorative  Language. 


373 


dustry  possesses  the  power  to  acquire  wealth.     Thus  we  com- 
plete the  emblematical  design,  as  seen  in  Fig.  280. 

The  following  is  a  problem  given  to  us  for  solution  :   On  a 

gold  chevron  in  a  black  field 
is  a  scarlet  lily,  to  which  is 
added  as  a  crest  a  sunflower, 
and  under  all  a  blank  scroll. 
On  this  we  must  write  a  motto 
that  will  be  appropriately  sym- 
bolized by  the  design. 

It  would  be  excellent  prac- 


Fig.  280. 

tice  for  the  student  in  this 
new  motif  in  decorative  art 
to  try,  by  application  of  the 
foregoing  instructions,  to  de- 
cipher the  meaning  of  this 
design  before  reading  the 
analysis. 

SOLUTION  OF  FIG.  281. 
— We  do  not  think  this  is 
put  together  as  scientifically 
as  the  system  would  admit  of, 
but  still  it  can  be  deciphered.  Fig.  231. 

The   scarlet   lily   (high- 

souled  aspirations)  on   a  gold  (knowledge)  chevron,  which  is 
aid,  assistance,  in  a  field  of  black  (ignorance),  surmounted  by 


374 


Winter. 


the  sunflower  (pure  and  lofty  thoughts),  freely  translated,  might 
be   read  :    Aspirations  after  knowledge    help    to    illumine   the 

darkness  of  ignorance 
with  pure  and  lofty 
thoughts.  Aspirations 
(lily)  after  knowledge  (gold) 
help  (chevron)  to  illumine 
(the  gold  chevron  and  lily 
brighten  up  the  dulness  of 
the  black  field)  the  darkness 
of  ignorance  (black)  with 
pure  and  lofty  thoughts 
(sunflower). 

For  younger  girls  the 
plain  shield  of  one  color  with 


Fig.  282. 

an  appropriate  flower  had 
best  be  used,  which  they  may  vary  ad  infinititm.  A  simple 
yet  pretty  shield  can  be  made  by  placing  a  four-leaved  clover, 
symbolical  of  good-luck,  on  a  shield  of  one  color,  silver,  mean- 
ing purity,  innocence,  showing  that  innocence,  combined  with 
the  language  of  the  clover,  expresses  good-fortune. 


Fig.  283. 


Fig.  284 


We  might  go  on  forming  innumerable  designs,  each  more 
beautiful  than  the  last,  but  enough  hints  have  been  given  to  en« 


A  Decorative  Language. 


375 


able  the  young  people  to  make  any  style  of  design  in  this  deco- 
rative language  which   may    best  suit  their  purpose.     Young 


Fig.  285. 

girls  can  decorate  menu  cards,  having 
each  motto  exactly  suited  to  every  sep- 
arate guest,  the  sentiment  being  indica- 
tive of  some  feeling  or  quality  peculiar 
to  each  person.  Invitations  for  parties, 
also  orders  of  dances  or  games,  may  be 
designed  in  the  same  way. 

This  beautiful  combination  of  flow- 
ers and  heraldry  is  appropriate  for  orna- 
mental needlework,  to  be  embroidered 
on  chairs,  worked  on  screens,  painted 

on  velvet,  wrought  on  scarfs,  and  adapted  in  innumerable  ways 
to  add  to  the  refinement  and  attractiveness  of  home. 


376 


Winter. 


The  idea  can  be  utilized  in  stained-glass  effects  and  in  china- 
painting. 

The  chosen  motto  may  be  a  decoration  in  marking  personal 


Fig.  287. 


Fig.  288. 


possessions,  such  as  table  china  (Figs.  282,  283,  284),  fan  (Fig. 
285),  chair-back  (Fig.  286),  travelling  satchel  (Fig.  287),  tidy 
(Fig.  288),  handkerchief  (Fig.  289),  and  sofa-cushion  (Fig.  290). 


Fig.  289. 


Fig.  290. 


These  are  only  a  few  examples  of  the  many  articles  which 
can  be  beautified  and  stamped  with  your  individual  mark.  Por- 
tieres offer  a  good  ground  for  applique  or  embroidery  in  deco- 
rative language. 


A  Decorative  Language. 


377 


Book-Plates 

seem  to  be  regaining  their  popularity  and  usefulness.     These 

book-plates  are  tablets  in  any 

style,    which,    when     gummed 

inside   on    the  front  covers  of 

books,    have    been     used    for 

many   years    to    designate    to 

whom  the  books  belong. 

There  is  a  certain  book- 
plate more  interesting  to  us 
than  all  others.  To  the  design 
on  it  we  are  indebted  for  our 
national  shield  and  our  Stars 
and  Stripes.  It.  was  used  by 
the  Father  of  our  Country,  and 
we  are  glad  to  be  able  to  give 
a  print  of  the  original  in  Fig. 
291. 

In  the  decorative  language  Fig.  291. 

any  style  of  book-plate  can  be 

designed,  which,  when  pasted  in  a  favorite  book,  will  add  to  the 
value  of  the  already  treasured  volume. 


Floral  Vocabulary. 

Apple-blossom Preference. 

Almond Hope. 

Acanthus Art. 

Arbor  vitae Unchanging  friendship. 

Bulrush Docility. 

Balm Social  intercourse. 

Balsamine Impatience. 


378  Winter. 


Blue  violet Faithfulness. 

Bay  wreath ; Glory. 

Box Constancy. 

Broom Humility. 

Buttercup Riches. 

Camellia  japonica Unpretending  excellence. 

Cherry A  good  education. 

Canterbury-bell Gratitude. 

Chestnut Do  me  justice. 

China  aster Love  of  variety. 

Cabbage Profit. 

Coreopsis Always  cheerful. 

Clover,  red Industry 

Cowslip Winning  grace. 

Clover,  white I  promise. 

Daffodil Uncertainty. 

Dahlia.  .  . Elegance  and  dignity. 

Dandelion Coquetry. 

Fennel Strength. 

Geranium Gentility. 

Grass Submission. 

Heliotrope    . . . Devotion. 

House-leek Domestic  economy. 

Hollyhock Ambition. 

Ivy Dependence. 

Laurestine A  token 

Lichen Solitude. 

Lettuce Cold-hearted. 

Lemon-blossom Discretion. 

Lilac,  purple Fastidiousness. 

Lily,  white Purity. 

Mullein Good-nature. 

Mignonette ....  Worth. 


A  Decorative  Language. 


379 


May-flower Welcome. 

Nasturtium Patriotism. 

Oats Music. 

Olive Peace. 

Ox-eye Patience. 

Poppy,  white Dreams. 

Snowdrop Consolation. 

Straw United. 

Sensitive-plant Sensitiveness. 

Star  of  Bethlehem Reconciliation. 

Sweetbrier Simplicity. 

Thyme Thriftiness. 

Thorn-apple Disguise. 

Tulip-tree * Fame. 

Witch-hazel. . A  spell. 

Winged  seeds  of  all  kinds Messengers. 

White  violet Modesty. 

White  rose  .  Silence. 


CHAPTER  XXXIV. 

A  FEW  ITEMS  ON  OLD-FASHIONED  NEEDLE- 
WORK, WITH  SOME  NEW  AND  ORIGINAL 
PATTERNS. 

OME  around  early  this  afternoon  and  bring 
vour  fancy-work ;  we  will  have  a  nice, 
cosey  time ;  all  the  girls  will  be  there,  and 
we  can  read  that  last  new  book."  Such 
is  the  familiar  and  welcome  invitation 
given  and  received,  from  time  to  time,  by 
most  young  girls,  and  they  find  quiet  but 
real  recreation  in  these  informal  meetings, 
where,  while  listening  to  a  friend  read 

aloud,  they  believe  it  much  easier  to  keep  their  minds  on  the 
subject  if  their  hands  are  employed  with  dainty  needle-work. 
Then,  too,  sewing  is  a  real  pleasure  when  one  becomes  inter- 
ested in  the  work,  and  anyone  who  thoroughly  understands 
plain  sewing  can  with  ease  learn  fancy  stitches  of  all  kinds,  for 
good  old-fashioned 

Plain  Sewing 

is  the  foundation — the  A  B  C — of  all  the  more  elaborate  drawn 
work,  embroideries,  and  some  of  the  laces.  As  a  rule  we  think 

OVERHANDING. 

comes  first  on  the  list  of  plain  stitches  ;  this  is  exactly  the  same 
as  sewing  over  and  over.  Hold  the  two  edges  of  the  material 


Old-Fashioned  Needle-work. 


381 


firmly  together  between  the  first  finger  and  thumb  of  the  left 
hand,  while  with  the  right  hand  you  take  the  stitches  very  close 
together  and  as  near  the  edge  as  possible,  sewing  from  right 
to  left  (Fig.  292).  It  is  well  to  keep  the  edge  nearest  to  you  a 
little  tighter  than  the  outer  edge,  to  prevent  its  puckering. 
Always  baste  the  seam  before  sewing,  and  when  the  seam  is 
finished  open  it  and  flatten  out  the  stitches  (Fig.  293),  so  that 


Fig.  292. — Overhanding  ;   or  Sewing 
over  and  over. 


Fig.  293  — Overhanding.     The  seam  opened  with 
stitches  flattened  out. 


the  edges  of  the  material  will  not  overlap,  but  just  meet  to- 
gether and  lie  smooth  and  flat. 

OVERCASTING 

is  the  same  as  Overhanding,  except  the  stitches  slant,  are  farther 
apart,  taken  down  deeper  in  the  material,  and  the  seam  is  not 
opened. 

HEMMING. 

First  turn  in  the  raw  edge  four  or  five  threads,  according  to 
the  kind  of  goods  to  be  hemmed,  then  turn  it  down  again  to 
the  desired  width  ;  this  done,  baste  the  hem  down  evenly  and 
neatly — it  must,  be  of  the  same  width  throughout — hold  the 


382  Winter. 


sewing  over  the  first  finger  of  your  left  hand,  and  have  the 

stitches  small,  even,  and 
very  near  the  edge  of  the 


hem  (Fig.  294). 


RUNNING. 

Pass  the  needle  in  and 
out  of  the  material  in  a 

Fig.294.-Hemming.  straight  line  (Fig.   295), 

making   all    the    stitches 

the  same  size.  We  believe  the  rule  is  to  take  up  two  threads 
and  leave  two  ;  but  the  length  of  the  stitch  should  be  regulated 
by  the  kind  of  material  used. 

BASTING 
is  to  take  long  stitches  in  the  same  manner  as  running. 

GATHERING 

does  not  differ  much  from  running  ;  the  stitches  are  taken  on  the 
needle  in  the  same  manner,  but  in  this  case  two  threads  are 
taken  up  and  four  left ;  the  line  should  be  kept  perfectly  straight. 

If  you  wish  to  gather 

an  apron  or  a  skirt  di- 
vide it  into  halves,  then    | 
into    quarters,  in    order    ! 
to     make     the     fulness    I 
even  on  each  half  of  the    1 

band  ;     mark    the    four     1 

places  and  gather  on  the    1 

right    side;     when    fin-  Fig  295._Runningt 

ished  draw  the  stitches 

tightly  together  on  the  thread  and  stroke  down  evenly  with  a 


Old- Fashioned  Needle-work. 


383 


needle.  To  sew  in  the 
gathers,  back-stitch  each 
one  in  separately. 


STITCHING. 

Take  two  threads 
back  of  the  needle  and 
two  before,  having  each  Fig  296-stitching. 

stitch  meet  the  last  one,  as  in  Fig.  296  ;  keep  the  stitches  even 
and  in  a  straight  line. 

BACK-STITCHING. 

Proceed   as  in  stitching,  only  make  the  stitches  longer  and 
do  not  have  them  meet. 

FELLING. 


First  baste  up  the  seam,  allowing  the  upper  edge  to  extend 
five  threads  beyond  the  lower  edge  (Fig.  296)  ;  then  back- 
stitch or  stitch  the  two  edges  together  ;  next  turn  the  upper 
edg-e  down  over  the  lower  one  and  lay  open  the  seam  so  that 

the  fell  will  lie  down  flat 
like  a  hem  (Fig.  297)  ; 
then  hem  it  down  neatly. 


Button-holes. 

Fig.  298  shows  how 
to  take  the  proper  stitch. 
Be  careful  in  cutting 
button-holes  to  make  the 
slit  even  to  a  thread  and  cut  the  outer  corner  rounded  ;  bar 
the  inner  corner  by  taking  two  stitches  across  it,  and  overcast 


Fig.  297.— Felling. 


384 


H7inter. 


the  button-hole   around   three   or  four  threads  deep  from  the 
edge,  or  if  the  material   is   not  inclined  to   ravel   run  it  with 

thread,  either  double 
or  single,  drawing  it 
a  trifle  tight  ;  then 
begin  at  the  left-hand 
corner  to  work  the 
button-hole,  leaving 
Fig.  298.-Button.hoie  stitch.  one  thread  between 

each  stitch  ;  keep  the  stitches  exactly  the  same  depth  and  the 
loop  or  pearl  of  the  button-hole  on  the  upper  edge. 


HERRING-BONE   OR   CAT'S-TOOTH   STITCH 

is  used  to  keep  the  seams  in  flannel  spread  open  and  fastened 
neatly  down.  Fig.  299  shows  how  to  take  the  stitch  ;  make  the 
stitches  all  even  and  of  the  same  size. 

We  have  now  given  all  the  stitches  which  properly  belong 
to   plain    sewing,    and 
our  next  step  will  be 


Darning   and    Mend- 
ing. 

"  A  stitch  in  time 
saves  nine  ;  "  this  much 
most  of  us  know  from 
experience,  and  it  is 
wise  to  devote  a  little  time  on  a  certain  day  each  week  to  look- 
ing over  the  wardrobe  and  making  any  repairs  that  may  be 
needed  ;  the  little  care  and  time  thus  bestowed  will  prove  a 
true  economy,  and  it  is  a  real  comfort  to  have  all  one's  cloth- 
ing in  perfect  order. 


Tig.  299.— Herring-bone  Stitch. 


Old- Fashioned  Needle-work. 


385 


Fig.  300 — Jersey  or  Stocking  Darn. 


TO   DARN   A  JERSEY   OR   A   STOCKING. 

With  a  needle  and  thread  carefully  draw  out  the  uneven 
ravelled  edges  of  the  hole,  in  order  to  diminish  its  size  as  much 
as  possible,  and  bring  the  loops  and 
ends  back  in  their  proper  places  ; 
then  place  under  it  a  wooden  egg  or 
anything  that  will  answer  the  pur- 
pose, and  using  thread  of  the  same 
texture  and  shade  of  color  as  the 
garment  to  be  mended,  run  back 
and  forth  across  the  hole  as  far  as 
the  material  is  w6rn  thin,  leaving  a 
loop  at  the  end  of  each  turn.  In  crossing  the  threads,  take  up 
every  other  thread  alternately  each  way  (Fig.  300),  and  make 
the  darn  of  an  irregular  shape,  as  one  of  an  even  outline  does 
not  wear  well ;  when  the  weaving  or  darning  is  finished  the  loops 
can  be  cut  off. 

TO   DARN   A   TEAR. 

Carefully  bring  the  ragged   edges  together  and  baste  the 
tear  as  nearly  as  possible  in  its  original  position  ;  then,  if  it  is 

delicate  muslin  or  dress  material 
to  be  mended,  use  ravellings  of 

lex  ^  & 

/??  the    same    instead    of  thread    to 

^An, 


./  I  darn  with,  and  weave  it  in  and 
out  across  the  edges  of  the  rent, 
as  in  Fig.  301  ;  if  the  darn  needs 
strengthening,  baste  a  piece  of 
the  same  material  under  the  rent 
before  darning,  and  catch  down 
the  edges  of  the  piece  on  the  under  side  of  the  goods.  In 
mending  broadcloth  or  like  material,  darn  it  on  the  wrong 


Fig.  301.— Tear  Darn. 


IVinter. 


side,  and  when  the  darn  is  finished,  ruff  up  the  nap  with  the 
point  of  the  needle  at  the  edges  of  the  tear  on  the  right  side  to 
cover  the  stitches ;  then  dampen  the  darn,  and  after  laying  a 
thin  clean  cloth  over  it,  press  with  a  moderately  hot  flat-iron  ; 
this  should  make  the  darn  almost,  if  not  quite,  imperceptible. 

How  to   Patch. 

If  possible  cut  the  piece  intended  as  a  patch  of  the  same 
goods  as  the  garment  to  be  mended,  and  if  there  is  a  pattern 
be  careful  to  so  cut  and  place  the  patch  that  it  will  match  ex- 
actly ;  baste  and  hem  down  the  patch  on  the  right  side  of  the 
worn  part  of  the  garment ;  then  cut  out  the  old  material  on  the 
wrong  side,  leaving  enough  edge  to  form  a  firm  hem  ;  sew  this 
to  the  patch,  taking  care  that  the  stitches  do  not  show  on  the 
right  side. 

How   to    Sew    on    a    Button. 

Should  much  strain  come  on  the  button,  as  in  little  chil- 
dren's clothes,  first  hem  down  a  small  double  piece  of  muslin, 
on  the  wrong  side  of  the  garment,  at  the  exact  spot  where  the 
button  is  to  be  placed,  and  with  strong  thread  take  a  stitch  on 
the  right  side  ;  then  sew  the  button  through  about  four  times, 
being  careful  not  to  let  the  stitches  spread  on  the  wrong  side  ; 
wind  the  thread  three  times  around  the  shank  of  the  button 
formed  by  the  stitches,  drawing  the  thread  a  little  tight,  pass 
the  needle  through  and  fasten  the  thread  neatly  on  the  wrong 
side  ;  the  extra  piece  of  muslin  can  be  omitted  when  not  needed. 

To  Mend  a  Kid   Glove. 

If  the  glove  is  merely  ripped,  and  there  is  no  strain  on  the 
portion  to  be  mended,  sew  the  two  edges  together  over  and 
over  on  the  right  side  with  fine  thread  or  sewing-silk  matching 


Old-fashioned  Needle-work. 


387 


in  color  the  glove  to  be  mended  ;  if,  however,  there  is  liability 
of  its  tearing  out  again,  strengthen  the  edges  by  first  working  a 
button-hole  stitch  on  each  ;  then  sew  them  together  over  and 
over,  passing  the  needle  in  and  out  of  the  loops  of  the  button- 
hole stitch,  so  forming  a  narrow  net-work  of  thread  between  the 
two  pieces  of  kid.  Should  the  glove  need  a  patch,  carefully  cut 
a  piece  of  kid  out  of  the  best  part  of  an  old  kid  glove  corre- 
sponding in  color  to  the 
•one  needing  repairs  ; 
make  the  patch  exactly 
the  shape  and  size  of  the 
hole,  and  button-hole 
stitch  all  around  the  edge 
•of  the  hole  and  the  edge 
of  the  patch  ;  then  sew  in 
the  patch  over  and  over, 
catching  together  the 
loops  of  the  button-hole  stitches  •  this  makes  the  mending  firm, 
neat,  and  strong. 

Fancy    Stitches. 

These  are  in  many  varieties  of  style  ;  one  of  the  most  useful 
is  known  as  the 

FEATHER  STITCH. 

Fig.  302  gives  the  position  of  the  needle  and  the  manner  of 
taking  the  stitch.  Remember  to  make  all  the  stitches  of  an 
exact  length  and  the  same  distance  apart,  first  one  on  this  side 
and  then  one  on  that,  keeping  them  in  a  straight,  even  line. 

CHAIN    STITCH 

sometimes  takes  the  place  of  braiding  ;  it  is  the  same  stitch 
as    that    used    in    the    old-fashioned    tambouring    (Fig.    303)  ; 


Fig  302.— Feather  Stitch. 


388 


Winter. 


many  Persian  embroideries  are  made  in  silk  with  the  chain- 
stitch. 

A  NEW   IDEA    IN    OUTLINE    STITCH. 

The  stitch  (Fig.  304)  is  used  for  outline  embroidery,  and 
when  made  with  fine  black  sewing-silk  resembles  pen-and-ink 

work.  We  have  seen 
figures  outlined  on  linen 
with  the  drapery  worked 
in  colors,  while  the  face, 

Fig.  303._chain  stitch,  hands,   and    feet  were 

simply  in   black   and 

white  ;  being  finely  outlined,  the  effect  was  novel  and  artistic, 
for  in  this  way  the  features  were  made  as  true  as  if  drawn  on 
paper  with  a  pencil. 

For  filling  in   the  solid    colors  take  the   common  running 
stitch,  but  make  the  stitches  long  on  the  right  side  of  the  em- 
broidery and  very  short  on  the  wrong  side,  so  as  to  give  the 
appearance  of 
the    colored 
fabric  copied. 

U  s  e  filo- 
silk ;  and  Eng- 
lish or  French 
embroidery 
cottons,  when 

colors  are  needed  in  the  work.  Always  soak  the  silks  and 
cottons  in  strong  salt  and  water  before  using ;  this  sets  the 
color  and  keeps  it  from  running  when  washed. 


Fig.  304.— Outline  Stitch. 


HEM-STITCHING. 


Decide  upon  the  width  of  the  hem  and   the  width  of  the 
space  for  drawn  threads  ;  carefully  draw  out  the  thread  at  one 


Old- Fashioned  Needle-work. 


389 


Drawn  Work 


edge  of  the  space,  then  the  thread  at  the  other  edge ;  next 
all  the  intervening  threads  ;  this  finished,  fold  and  baste  down 
the  hem,  allowing  it  to  meet  the  edge  of  the  drawn  work,  and 
taking  five  threads  running 
lengthwise  in  the  space,  bind 
them  together  at  the  edge  of 
the  hem  ;  at  the  same  time 
stitch  them  to  the  hem,  as  in 
Fig.  305. 


Fig.  305.-Hem-stitching. 


always  looks  well  and  is  very 
serviceable  when  made  of 
linen.  Scarfs  for  buffets,  bureaus,  or  tables,  and  tea-cloths, 
tidies,  or  chair-backs,  can  be  made  of  crash,  butchers'  linen, 
and  linen  sheeting  ;  it  is  better  to  have  doylies  of  very  fine  linen. 
In  making  drawn  work,  if  the  article  is  to  be  fringed,  first 
draw  out  a  few  threads  to  measure  the  depth  of  the  fringe, 
and  at  the  opening  thus  made  hem-stitch  all  around  the  edge 

of  the  material,  leaving  the 
ravelling  out  of  the  fringe  un- 
til the  drawn  work  is  finished  ; 
proceed  to  draw  the  threads 
wherever  spaces  are  desired, 
and  before  working  the  pat- 
tern always  hem-stitch  both 
edges  of  the  spaces.  In  Fig. 
306  the  pattern  marked  B 
shows  the  stitch  called  fagotting,  made  by  crossing  every  other 
group  of  threads  back  over  the  one  preceding  and  drawing  the 
linen  thread  through  in  such  a  way  as  to  keep  the  groups 
twisted  ;  the  two  lines  marked  A,  in  the  Fig.  306,  are  intended 


Fig.  306.— Fagotting  Stitch. 


39° 


Winter. 


more  as  a  finish  to  some  elaborate  design  than  as  a  pattern  in 

themselves  ;  these  are  made  by 
hem-stitching  down  a  number 
of  threads  to  each  group.  Fig. 
307  gives  a  favorite  pattern  ;  for 
this  count  the  threads,  so  that 
the  spaces  may  be  equal  and 
regular ;  draw  the  threads  in 
all  the  spaces  running  one  way 
first ;  then  draw  the  threads  in 
the  spaces  crossing  the  first  one 
and  run  linen  threads  diago- 
nally across  from  the  top  of  the 
bottom  of  the  left,  dividing  each 


Fig.  308.— First  Knot.       Fig.  309.— Second  Knot. 


Fig.  307 Drawn  Work. 

right-hand    corner    to    the 

linen    square   into   two 

equal    parts  ;    cross   these 

by    threads    also    running 

diagonally  across  from  the 

top  of  the  left-hand  corner 

to  the  bottom  of  the  right, 

again    dividing    the   linen 

squares,  making  four  equal 

parts;  then  weave  threads 

through  all  the  spaces  running  both  horizontally  and  perpendicu- 
larly, using  the  fagotting  stitch 
(Fig.  306),  and  when  crossing  the 
threads  in  the  open  spaces  tie  the 
centres  of  each  in  turn,  as  in  Fig?. 
308,  309;  finish  the  pattern  by  run- 
ning a  thread  in  and  out  several 
times  around  the  knots  in  the 

centres    of  the  wheels    and  fasten    the   ends   by  tying  neatly. 

Another  pattern  is  given  in  Fig.  310. 


Fig.  310- — Border  in  Drawn  Work. 


Old- Fashioned  Needle-work.  391 


Outline  work  is  often  combined  with  drawn  work  ;  fast  colors, 
in  either  cotton,  linen  or  silk,  are  used  for  the  outline  design. 
When  the  article  worked  is  intended  for  daily  use  and  must 
frequently  be  laundried,  it  is  better  to  substitute  in  place  of  the 
fringe  a  wide  hem-stitched  hem  edged  with  firm  linen  lace. 

Very  dainty  fancy  aprons  are  made  of  common  scrim  with 
spaces  drawn  and  narrow  ribbons  of  different  colors  simply 
woven  in  and  out  of  the  threads,  running  crosswise  through  the 
spaces. 

Applique  and  Original  Designs  for  Portieres. 

The  pattern  in  this  work  is  cut  from  one  material  and  sewed 
on  another. 

Almost  any  kind  of  fabric  can  be  used  as  either  applique  or 
foundation  ;  velvet  and  plush  are  suitable  for  applique,  but 
make  poor  groundwork,  owing  to  the  long  nap  ;  both  ma- 
terials in  dark  rich  colors  are  handsome  when  used  as  a  border 
on  portieres  or  table-covers.  To  applique  a  pattern  of  velvet 
or  plush  cut  the  design  very  exact  and  cover  the  wrong  side 
with  a  slight  coating  of  gum,  being  careful  to  have  the  gum 
thin  on  the  edges  so  that  it  will  not  spread  on  the  ground- 
work ;  then  lay  the  velvet  on  the  place  it  is  to  occupy,  and 
after  pressing  it  down  very  gently  and  lightly  with  your  hand, 
allow  it  to  dry  ;  this  accomplished,  the  edges  of  the  pattern 
may  be  hemmed  down  neatly  on  the  foundation.  If  a  further 
finish  is  desired,  outline  the  design  by  sewing  all  around  the 
edge  a  small  gold  or  silken  cord. 

Portieres. 

We  give  an  original  applique  design  for  a  portiere  in  Fig. 
311,  representing  Day.  The  foundation  is  of  soft  dark-blue 
momie-cloth,  the  sun  a  round  piece  of  bright  yellow  or  orange 


392 


Winter. 


satin,  and  the  rays  are  of  gold  or  heavy  yellow  silk  thread 
merely  run  in  stitches  of  various  lengths  ;  the  cloud  is  of  light 
blue  crape  or  crazy  cloth,  and  the  bird  is  one  of  those  which 
come  prepared  expressly  for  applique  by  the  Japanese,  and  can 
be  purchased  at  almost  any  Japanese  or  fancy  store  ;  if  possible 
a  lark  should  be  selected  in  preference  to  other  birds.  The 
border  is  a  band  of  old  gold  velvet.  Our  other  design  (Fig. 


/'I    'I'll         ^ 

•ANE3,  /A.         /    |    I      \ 

SIM  '/  /      ',|         \ 


DARK  BLUE    MOMIE    CLOTH 


OUD    GOLD    VELVET 


A      WHITE  SILK 


DARK  BLUE    MOMIE   CLOTH 


OLD    GOLD    VELVET 


Fig.  311.— Portiere.     Day. 


Fig.  312.— Portiere.     Night. 


312)  represents  Night ;  the  foundation  and  band  are  the  same  as 
those  for  the  "  Day  "  portiere  ;  the  star  is  of  white  silk,  the 
moon  of  very  pale  Nile  green  silk,  and  the  cloud  of  dark  pearl 
gray  crape  or  crazy  cloth,  much  darker  than  the  blue  momie- 
cloth. 

The  applique  work  must  be  done  very  carefully.  First  cut 
out  the  designs,  next  turn  in  the  raw  edges  evenly  and  smoothly, 
and  with  a  very  fine  thread  and  needle  baste  the  edges  down ; 


Old-Fashioned  Needle-work.  393 

then  baste  the  designs  carefully  on  the  foundations,  and,  with  a 
fine  needle  and  sewing-silk  matching  in  color  the  piece  to  be 
appliqued,  hem  each  one  down  neatly,  making  the  stitches 
almost  invisible.  The  band  of  velvet  can  be  sewed  on  the  bot- 
tom edge  of  the  momie-cloth,  then  turned  up  like  a  hem  and 
hemmed  down. 

Lace. 

Very  beautiful  lace  is  made  by  cutting  out  the  heavy  pat- 
terns which  are  still  perfect,  from  old  and  worn  laces  and  em- 
broideries, and  transferring  the  designs  to  new  fine  wash-net. 
After  first  basting  them  on,  hem  them  down  to  the  netting  with 
a  fine  needle  and  thread  ;  in  this  way  the  embroideries  last  as 
long  again  and  look  as  well  as  when  new. 

Ribbon  Embroideries. 

We  can  give  a  clearer  idea  of  this  work  by  means  of  an  ex- 
ample, and  we  will  take  the  common  white  daisy  as  an  illustra- 
tion. 

Thread  a  long-eyed  coarse  needle  with  very  narrow  white  rib- 
bon, and  beginning  at  the  centre  of  the  flower,  pass  the  needle 
from  the  wrong  side  up  through  your  material,  drawing  the 
ribbon  out  nearly  its  full  length  and  leaving  only  a  short  piece 
on  the  wrong  side  to  be  fastened  down  ;  now  take  a  stitch 
straight  out  the  length  of  a  daisy  petal  and  pass  the  needle 
through  to  the  wrong  side  ;  then,  taking  a  very  short  stitch, 
draw  the  needle  out  through  on  the  right  side  ;  next  take  an- 
other long  stitch  back  to  the  centre  of  the  daisy,  thus  forming 
the  second  petal ;  continue  in  the  same  manner,  making  the 
petals  radiate  out  in  a  circle  from  the  centre  of  the  flower.  Work 
the  centres  of  the  daisies  with  yellow  silk  and  the  stems  in 
dark-green  silk ;  the  leaves  can  be  either  worked  or  appliqued. 


394 


Winter. 


For  half-blown  daisies  make  only  about  a  quarter  of  a  circle  of 
petals,  and  in  place  of  the  yellow  centre, work  a  green  calyx. 
Ox-eyed  daisies  can  be  made  in  the  same  way  with  soft,  thin 
yellow  ribbon,  a  little  broader  than  the  ribbon  used  for  white 
daisies.  The  work  is  rapid  and  pleasing,  and  almost  any 
flower  can  be  imitated  very  perfectly  with  ribbon  embroidery. 


CHAPTER  XXXV. 
SCRAP-BOOK  AND  HOME-MADE  BOOK-COVERS. 


fashion  of  collecting  pictured  adver- 
tising cards,  so  much  in  vogue  among 
the  children  a  few  years  ago,  seems  to 
have  run  its  course,  and  dying  out,  it 
has  left  on  the  young  collectors'  hands 
more  cards  than  they  know  well  what 
to  do  with.  Many  of  the  collections 
have  been  pasted  in  scrap-books,  of 
which  the  children  have  long  since  tired.  While  examining 
one  of  these  volumes  with  its  row  after  row  of  cards,  it  oc- 
curred to  me  that  these  advertisements  might  be  utilized  in  a 
new  way  by  dividing  and  combining  them.  The  experiment 
proved  a  success,  and  I  will  now  try  to  show  you  how,  with 
the  aid  of  scissors  and  mucilage,  the  pictures  which  have  be- 
come so  familiar  may  be  made  to  undergo  changes  that  are 
indeed  wonderful,  and  how  from  them  may  be  formed  a 

Mother  Goose  Scrap-book. 

The  nursery  scrap-books  made  of  linen  or  paper  cambric 
are,  perhaps,  familiar  to  most  of  our  readers  ;  but  for  the  bene- 
fit of  those  who  may  not  yet  have  seen  these  durable  little 
books,  we  will  give  the  following  directions  for  making  one  : 
Cut  from  a  piece  of  strong  linen,  colored  paper  cambric,  or 


S96 


Winter. 


white  muslin,  four  squares  twenty-four  inches  long  by  twelve 
inches  wide.  Button-hole-stitch  the  edges  all  around  with 
some  bright-colored  worsted,  then  place  the  squares  neatly  to- 
gether and  stitch  them  directly  through  the  centre  with  strong 
thread  (Fig.  313).  Fold  them  over,  stitch  again,  as  in  Fig. 
314,  and  your  book  is  finished  and  ready  for  the  pictures. 

It  is  in  the  preparation  of  these  pictures  that  you  will  find 
the  novelty  of  the  plan  we  propose.  Instead  of  pasting  in  those 
cards  which  have  become  too  familiar  to  awaken  much  interest, 
let  the  young  book-makers  design  and  form  their  own  pictures 
by  cutting  special  figures,  or  parts  of  figures,  from  different 


Fig.  313. — Scrap-book  Opened  and  Stitched  through 
the  Centre. 


Fig.  314.— Scrap-book  Fold, 
ed  and  again  Stitched. 


cards,  and  then  pasting  them  together  so  as  to  form  new  com- 
binations. 

Any  subject  which  pleases  the  fancy  can  be  illustrated  in 
this  way,  and  you  will  soon  be  deeply  interested  in  the  work 
and  delighted  at  the  strange  and  striking  pictorial  characters 
that  can  be  produced  by  ingenious  combinations. 

Stories  and  little  poems  may  be  very  nicely  and  aptly  illus- 
trated ;  but  the  "  Mother  Goose  Melodies  "  are,  perhaps,  the 
most  suitable  subjects  with  which  to  interest  younger  children, 
as  they  will  be  easily  recognized  by  the  little  folk.  Take,  for 
instance,  the  "  Three  Wise  Men  of  Gotham,"  who  went  to  sea 
in  a  bowl.  Will  not  Fig.  315  serve  very  well  as  an  illustration 


Scrap-books. 


397 


of  the  subject  ? 
cards,  and  no 
two  from  the 
same  card. 
Fig.  316  shows 
the  materials, 
Fig.  315  the 
result  of  com- 
bining them. 

Again,  the 
little  man 
dancing  so 
gayly  (Fig. 
317)  is  turned 


Yet   these  figures  are  cut  from  advertising 


Fig.  315.—"  Three  Wise  Men 
of  Gotham." 


Fig.  318.—"  Little  Jack  Hornet." 


into  "Little  Jack  Horner"  eating  his  Christ- 
mas pie  (Fig.  318),  by  merely  cutting  off  his  legs 
and  substituting  a  dress-skirt 
and  pair  of  feet  clipped  from 
another  card.  The  Christmas 
pie  in  his  lap  is  from  still  an- 
other card. 

In  making  pictures  of  this 
kind,  figures    that  were    origi- 
nally standing  may  be  forced  to 
sit ;    babies  may  be  placed  in 
arms  which,  on  the  cards  they 
were    stolen    from,    held    only 
cakes    of    soap,    perhaps,    or 
boxes  of  blacking  ;  heads  may    Fig.  31?.— Figures  cut 
be  ruthlessly  torn  from  bodies    from  Christmas  cards. 
to  which  they  belong,  and  as  ruthlessly  clapped 
cards.        upon  strange  shoulders  ;  and  you  will  be  sur- 
prised to  see  what  amusing,  and  often  excellent,  illustrations 


398 


IVinter. 


present  themselves  as  the  result  of  a  little  ingenuity  in  clipping1 
and  pasting.     Another  kind,  which  we  shall  call  the 


Transformation   Scrap-Book, 

will  be  found  exceedingly  amusing  on  account  of  the  various 

and  ever-changing  pictures  it  presents. 

Unlike  any  other,  where  the  picture  once  pasted  in  must 

remain   ever  the  same,  the    transformation    scrap-book    alters 

one  picture  many  times. 
To  work  these  transfor- 
mations a  blank  book  is 
the  first  article  required  ; 
one  eight  inches  long  by 
six  and  a  half  or  seven 
wide  is  a  good  size. 

Cut  the  pages  of  this 
book  across,  one-third  of 


Fig.  319.— Transformation  Scrap-book 
cut. 


7ith  Pages 


the  way  down.  Fig.  319 
shows  how  this  should  be 
done.  The  three-cornered  piece  cut  out  near  the  binding  allows 
the  pages  to  be  turned  without  catching  or  tearing.  Leave  the 
first  page  uncut  ;  also  the  one  in  the  middle  of  the  book. 

Cut  from  picture-cards,  or  old  toy-books  which  have  colored 
illustrations,  the  odd  and  funny  figures  of  men  and  women, 
boys  and  girls,  selecting  those  which  will  give  a  variety  of  cos- 
tumes and  attitudes. 

Paste  a  figure  of  a  woman  or  girl  on  the  first  page,  placing 
it  so  that  when  the  lower  part  of  the  next  page  is  turned,  the 
upper  edge  of  it  will  come  across  the  neck  of  the  figure  where  it 
is  joined  on  to  the  shoulders. 

Cut  the  heads  from  the  rest  of  the  pictured  women,  and 
choosing  a  body  as  different  as  possible  from  the  one  just  used, 


Scrap-books. 


399 


Leaves  from  a  Transformation  Scrap-book. 

paste  it  upon  the  lower  part  of  the  next  page,  directly  under 
the  head  belonging  to  the  first  body.     Upon  the  upper  part  of 


400  Winter. 


the  same  page  paste  any  one  of  the  other  heads,  being  careful 
to  place  it  so  that  it  will  fit  the  body.  Continue  in  this  way, 
pasting  the  heads  upon  the  upper,  and  the  bodies  on  the  lower, 
part  of  the  page,  until  the  space  allowed  for  the  women  is  filled 
up  ;  then,  commencing  at  the  page  left  in  the  middle  of  the  book, 
paste  upon  it  the  figure  of  a  man,  and  continue  in  the  same  man- 
ner as  with  the  woman,  until  the  spaces  are  all  used  and  the 
book  is  complete. 

The  combinations  formed  in  this  way  are  very  funny.  Old 
heads  with  young  bodies  ;  young  heads  with  old  bodies  ;  then 
one  head  with  a  great  variety  of  bodies,  and  so  on. 

The  first  picture  may  represent  a  man,  tall  and  thin,  dressed 
in  a  rowing  costume,  as  shown  in  the  illustration.  Turn  the 
lower  part  of  the  next  page,  and  no  longer  is  he  thin  and  tall, 
but  short  and  stout,  the  position  of  this  body  giving  the  expres- 
sion of  amazement,  even  to  the  face.  The  next  page  turned 
shows  him  to  be  neither  tall  nor  short,  thick  nor  thin,  but  a 
soldier,  well-proportioned,  who  is  looking  over  his  shoulder  in 
the  most  natural  manner  possible. 

The  figures  in  the  illustration  were  cut  from  advertising  cards, 
and  the  head  belongs  to  none  of  the  bodies. 

A  curious  fact  in  arranging  the  pictures  in  this  way  is  that 
\he  heads  all  look  as  though  they  might  really  belong  to  any  of 
the  various  bodies  given  them. 

Instead  of  having  but  one  figure  on  a  page,  groups  may  be 
formed  of  both  men  and  women,  and  in  the  different  arrange- 
ment of  the  figures  they  can  be  made  very  ludicrous  indeed. 

A  scrap-book  for  older  girls,  which  might  be  termed  more 
fitly 

An  Album, 

can  be  made  by  mounting  engravings,  wood-cuts,  photographs, 
and  water-colors  on  pieces  of  thin  card-board  all  of  the  same  size. 


Scrap-books. 


401 


If  any  one  subject  be  chosen,  and  such  pictures  selected  as  tend 
in  some  way  to  illustrate  that  subject,  the  book  will  prove  more 
interesting  in  the  making,  and  will  be  quite  valuable  when  fin- 
ished. 

There  will  be  no  difficulty  in  mounting  the  pictures ;  simply 
paste  them  on  the  card- board  with  good  flour-paste,  and  press 
under  a  heavy  weight,  keeping  them  perfectly  neat  and  free 
from  smears  of  paste  on  the  edges.  When  two  or  more  are 
mounted  at  the  same  time,  place  clean  pieces  of  blotting-paper 
between,  pile  one  upon  another,  and  put  the  heavy  weight  on 
top. 

Such  a  scrap-book  should  be  bound  in  a 

Home-made  Book-cover, 

which  is  made  in  this  way : 

Take  two  pieces  of  heavy  card-board  a  trifle  larger  than  the 
book  you  wish  to  cover,  make  three  holes  near  the  edge  of 
each  (Fig.  320)  and  corresponding  holes  in  the  edges  of  the 


Fig.  320  —One  Side  of  Book-cover 
with  Holes  cut  near  the  Edge. 


Fig.  321. — Book- cover 
Tied  with  Ribbons. 


Fig  322. — Book- cover 
Laced  together  with 
Silk  Cord. 


book,  which  must  not  be  too  thick — that  is,  contain  too  many 
leaves  ;    pass   narrow  ribbons  through  these   holes  and   tie   in 
bow-knots,  as  in  Fig.  321.     If  the  leaves  of  the  book  are  thin, 
26 


402 


Winter. 


more  holes  can  be  made  in  the  back  and  the  covers  laced  to- 
gether with  silk  cord  (Fig.  322). 

These  book-covers  may  be  beautifully  decorated  by  anyone 
who  can  paint  in  water-colors,  and  tinted  card-board  can  also 
be  used  for  them.  They  are  pretty,  and  suitable  as  covers  for 
manuscript  poems  or  stories,  or  for  a  collection  of  autographs. 

In  making  any  kind  of  scrap-book  it  is  very  necessary  that 
the  paste  used  should  be  good.  If  the  paste  is  poor,  the  pict- 
ures will  peel  off  or  the  paste  turn  sour.  The  recipe  given 
below  we  can  recommend  as  an  excellent  one  for 


Flour-paste. 

Mix  one-half  cup  of  flour  with  enough  cold  water  to  make  a 
very  thin  batter,  which  must  be  smooth  and  free  from  lumps  ; 
put  the  batter  on  top  of  the  stove — not  next  to  the  fire — in  a  tin 
sauce-pan,  and  stir  continually  until  it  boils  ;  then  remove  from 
the  stove,  add  three  drops  of  oil  of  cloves,  and  pour  the  paste 
into  a  cup  or  tumbler.  This  will  keep  for  a  long  time  and  will 
not  become  sour. 


CHAPTER  XXXVI. 


A  HEAP  OF  RUBBISH,  AND  WHAT  TO  DO 
WITH  IT. 


N  almost  every  house  there  is  an  attic,  and  in  al- 
most every  attic  may  be  found  a  room  where 
trunks  are  stored,  where  broken  toys  and  dis- 
abled furniture  are  put  out  of  sight,  and  where 
all  articles  not  worth  selling  or  giving  away 
gradually  accumulate  until  this  attic  room  con- 
tains, literally,  a  heap  of  rubbish.  Entering  one 
of  these  lumber-rooms  not  long  ago,  and  glancing  over  the 
medley  which  comprised  so  much,  from  a  tin  can  to  a  piece  of 
broken  bric-a-brac,  the  thought  occurred  to  me  that  something 
might  be  done  with  it,  some  use  be  made  of  at  least  a  few  of 
the  articles  consigned  to  the  place  as  utterly  useless. 

That  was  rather  a  thrifty  thought.  Do  you  not  think  so, 
girls  ?  Then  let  us  make  the  most  of  it  and  together  venture 
back  into  that  mysterious  and  somewhat  dusty  chamber,  and 
see  if  there  really  is  anything  there  worth  the  making  over. 

In  imagination  we  will  stand  in  our  attic  lumber-room  and 
begin  to  look  about  us  with  eyes  and  mind  open  to  perceive 
possibilities. 

On  one  side  of  the  room,  leaning  against  the  wall,  we  see 
what  was  once  a  handsome  old-fashioned  mirror,  quite  large  and 
of  heavy  plate-glass.  It's  poor  dusty  face,  reflecting  dimly  its 
barren  surroundings,  is  shattered  in  many  pieces,  and  at  first 


404  U^inter. 


sight  it  seems  hopeless  to  attempt  to  restore  it  to  the  plane  of 
beauty  or  usefulness ;  but  do  not  let  us  be  hasty ;  we  will  ex- 
amine it  more  closely.  Yes,  here  is  a  piece  of  glass  large 
enough  to  frame.  Never  mind  its  uneven  shape  and  rough 
edges  ;  we  will  work  out  that  problem  later.  Now  we  must  put 
it  carefully  aside  and  continue  our  investigations. 

Here  is  a  large  tin  can,  which  can  be  made  into  a  lantern  to 
hang  in  the  hall,  and  this  baking-powder  can  may  be  of  some 
use,  so  we  will  take  it  also. 

The  tops  of  three  cheese-boxes  ;  something  should  be  done 
with  them.  Perhaps  they  can  be  used  for  a  table  ;  put  them 
with  the  other  chosen  things. 

A  croquet-ball  !  That  will  make  a  fine  key-rack.  This  box 
of  silks  and  ribbons  we  may  need,  and  the  large  pasteboard- 
box  will  do  for  the  foundation  of  our  mirror  frame. 

We  must  have  this  piece  of  old  brass  chain  this  handful  of 
large  nails,  the  pasteboard  roll  which  has  been  used  for  send- 
ing engravings  through  the  mail,  and  that  old  broad-brimmed 
straw  hat ;  also  these  three  broomsticks  and  the  piece  of  nice 
dark-gray  hardware  paper. 

Now,  seated  in  our  own  room,  let  us  see  what  we  can  do  with 
this  rather  unpromising  array  of  objects  spread  around  us. 
First  we  will  try 

The  Mirror, 

and  must  cast  about  us  for  the  ways  and  means  of  framing  it. 
The  large  pasteboard-box  we  have  already  decided  will  make  a 
good  foundation.  After  tearing  off  the  sides,  we  will  cut  an 
even  square  from  the  bottom,  which  is  smooth  and  unwarped. 

Next  laying  the  piece  of  mirror  on  the  square  of  pasteboard 
we  must  cut,  out  of  ordinary  brown  wrapping-paper,  a  square 
two  inches  larger  all  around  than  the  pasteboard,  make  a  hole 
in  the  centre  as  large  as  the  shape  of  the  mirror  will  allow,  and 


What  to  do  with  Rubbish. 


405 


paste  it  down  on  the  mirror  and  paste- 
board (Fig.  323).  Then,  after  clipping 
out  the  corners,  we  will  turn  the  edges 
over  on  to  the  back  of  the  pasteboard 
foundation  and  paste  them  down.  Cut- 
ting four  strips  of  the  hardware  paper, 
about  two  inches  wide,  we  will  fold  them 
through  the  centre  lengthwise  and  paste 
them  around  the  glass, 
lapping  them  just  a  lit- 


Home-made  Mirror-frame. 

tle  over  the  edge  of  the  other  paper,  the  folded 
side  being  next  to  the  glass  (Fig.  324).  This 
will  form  a  bevel  for  our  frame.  From  the 
same  paper  we  will  now  cut  a  square,  three 

inches  larger  on  all 


Fig,  324.-Bevel  of 
Hardware  Paper 
on  Frame. 


Fig.  325.— The  Outside  Covering 
for  Mirror-frame. 


sides  than  the  foun- 
dation ;  then,  exact- 
ly in  the  centre,  mark  a  square  half  an 
inch  larger  all  around  than  the  square 
of  mirror  showing.  In  the  centre  of 
the  square  marked  out  we  must  insert 
our  scissors,  cut  it  like  Fig.  325,  and 
after  clipping  off  the  points,  as  indi- 
cated by  the  dotted  lines  L,  M,  O,  N, 
turn  back  the  four 


pieces  at  the  dotted  lines,  P,  Q,  R,  S,  leaving 
an  open  square.  Then  placing  it  over  the 
mirror  so  that  the  same  width  of  bevelled 
edge  shows  on  all  sides  of  the  mirror,  we 
must  paste  it  down.  Clipping  out  the  cor- 
ners, as  shown  in  diagram,  we  will  bring  the 
edges  over  and  paste  them  down  securely  to 
the  back  of  the  frame.  A  piece  of  hardware 


Fig.  326.— Back  of 
Frame  with  Tape 
Attached. 

paper,  cut  in  a 


406 


Winter. 


square  one  inch  smaller  than  the  frame,  we  will  paste  on  the 
back  to  finish  it  off  and  hide  the  edges  of  the  paper  where  they 

have  been  turned  over 
(Fig.  326). 

We  must  fasten 
on  a  piece  of  tape  by 
which  to  hang  the 
mirror,  by  pasting 
down  the  ends  of  the 
tape  on  the  frame 
(letter  T,  Fig.  326), 
and  pasting  over  each 
a  strip  of  the  hard- 
ware paper  (letter 
U,  Fig.  326).  When 
the  frame  is  quite  dry 
we  will  paint  a  branch 
of  dog-wood  or  some 
light-colored  flower 
mirror  as  anyone  could 


Home-made  Mirror-frame. 


across  it,  and  have  as  pretty  a  little 
wish  for. 

The  next  thing  to  commence  will  be 


The  Table, 

which  you  can  make  yourselves  by  following  these  directions  : 
The  three  cheese-box  lids  will  answer  nicely  as  shelves  for 
a  work-  or  bric-a-brac  table,  and  the  broomsticks,  which  are 
all  the  same  length,  will  do  for  the  legs. 

Upon  each  broomstick  mark  the  distances  for  placing  the 
shelves,  allowing  six  inches  from  each  end  of  the  stick  for  the 
top  and  bottom,  and  the  exact  centre  between  these  points 
for  the  middle  shelf.  With  a  pocket-knife  cut  narrow  grooves 


What  to  do  with  Rubbish. 


407 


Fig.  327. --Narrow 
Grooves  Cut 
around  Broom- 
stick for  Table- 
leg. 


Fig.  328.— Holes 
Bored  in  a  Box- 
lid  Used  as  a 
Table-shelf. 


around  each  stick,  one-half  inch  on  either  side  of 
the  points  marked  on  them  (Fig.  327).  This  will 
make  six  grooves  on  each  stick.  Now  measure 
the  box-lids  to  find  their  circumferences,  and  di- 
vide them  into  thirds, 
marking  the  distances 
on  the  rim  to  obtain 
the  true  position  for  the 
legs.  -At  these  points 
bore  four  holes  with  a 
gimlet,  one  inch  apart, 
two  above  and  two  be- 
low (Fig.  328).  Through 
one  of  the  top  holes 
pass  a  piece  of  pliable 
wire,  place  one  of  the 
broomsticks  against  the 
rim  of  the  lid,  pass  the 
wire  back  through  the 
other  upper  hole  (Fig. 
329),  fit  it  into  the 
upper  groove  of  the 
stick,  and  draw  it  tight. 
Twice  the  wire  must  be 
put  through  the  upper., 
holes  and  around  the 
stick  in  the  top  groove  ; 

Bric-a-brac  Table. 

then,  bringing  it  down 

on  the  inside  of  the  lid,  you  must  put  it  twice 
through  the  lower  holes  and  around  the  stick  in 
the  lower  groove  ;  then  twist  the  ends  and  tuck 
them  under  the  wire  on  the  inside  of  the  lid  (Fig. 
330).  In  this  way  each  leg  will  have  to  be  fast- 


Fig.  329.— Man- 
ner of  Fasten- 
ing a  Shelf  to 
Table-leg. 


Fig.  330.— Table- 
shelf  and  Leg 
Fastened  se- 
curely together 
by  Wire. 


408  Winter. 


ened  to  each  shelf.  When  the  table  is  all  put  together  paint  it 
black,  and,  as  soon  as  it  is  dry,  tie  a  bright  ribbon  on  one  of  the 
sticks  at  the  top,  and  a  charming  little  bric-a-brac  table  will  be 
the  result  of  your  labor. 

You  can  make  a  very  pretty 

Lantern 

of  the  old  tin  can  ;  but  first  you  must  have  some  tools  to  work 
with  ;  not  many,  only  a  piece  of  wood,  rounded  on  one  side  to 
fit  into  the  can,  a  hatchet  or  heavy  hammer,  and  a  few  wrought 
iron  nails.  If  the  piece  of  wood  is  not  large  enough  to  fit  the 
can,  another  stick  can  be  put  in  to  hold  the  first  one  firmly 
against  the  can.  That  being  arranged,  you  must  decide  upon 
some  kind  of  a  pattern  to  be  made  by  the  holes,  and  indicate 
it  on  the  can  with  a  small  paint-brush  and  paint  or  ink ;  then, 
laying  the  can  on  its  side,  the  rounded  piece  of  wood  being  at 
the  top,  with  one  of  the  wrought  iron  nails  puncture  the  holes 
where  you  have  indicated  the  pattern.  With  the  hammer  drive 
the  nail  through  the  tin  into  the  wood  ;  then  draw  it  out,  make 
another  hole,  and  so  on  until  all  the  holes  you  wish  are  driven 
through  that  part  of  the  can  held  in  place  by  the  rounded 
piece  of  wood. 

This  wood,  you  see,  keeps  the  can  from  bending  when  the 
nail  is  being  driven  through.  In  moving  the  wood  as  the  work 
progresses,  you  must  always  keep  it  under  that  part  of  the  can 
being  punctured.  To  make  the  large  hole,  you  will  have  to  put  a 
number  of  the  small  holes  close  together,  and  then  drive  the  nail 
through  the  partitions,  cutting  them  away.  The  pattern  being 
completed,  puncture  three  holes,  close  to  the  top  of  the  can,  at 
equal  distances  apart.  These  are  for  the  chains  to  pass  through, 
by  which  to  suspend  the  lantern.  In  the  cover  of  the  baking- 
powder  can  make  three  holes  at  equal  distances  ;  then  divide 


IVhat  to  do  with  Rubbish. 


409 


the  chain,  which  is  about  one  yard  and  a  quarter  long,  into 
three  equal  lengths,  separating  the  pieces  by  prying  open  the 
links.  Put  an  end  of  each  piece  through  the  holes  made  for 
them  at  the  top  of  the  can,  and  fasten  them 
by  hooking  the  open  links  through  the  links 
of  the  chain  a  little  farther  up,  and  hammer- 
ing them  together  again. 

Now  pass  the  ends  of  the  chains  through 
the  holes  made  in  the  lid  of  the  baking- 
powder  can,  and,  bringing  the  ends  together, 
fasten  them  by  joining  the 

Fig.  33!.         Fig.332.  Hnks 
— Stand  in  Lantern,  with 

Nails  for  Holding  can-  Paint  the  lantern,  chain 
and  all,  black,  and  while  it  is 
drying  make  a  stand  for  the  candle  which  is  to 
furnish  the  light.  A  square  piece  of  thin  board, 
just  large  enough  to  fit  into  the  can  without 
touching  the  sides  will  do  for  the  stand.  Drive 
four  small  nails  in  the  centre  to  hold  the  candle 
(Fig.  331). 

Make  handles  for  lifting  the  stand  in  and 
out  of  the  lantern,  by  bending  two  pieces  of 
wire  like  Fig.  331,  and  fastening  them  to  the 
board  with  staple  tacks  (Fig.  332). 

When  the  paint  on  the  lantern  is  dry,  paste 
red  tissue-paper  all  around  the  inside  to  give  a 
cheerful  red  glow  to  the  light,  which  will  shine 
through  it.  If  you  would  like  it  to  resemble  a 
jewelled  lantern,  paste  different  colored  papers 
over  the  large  holes  and  leave  the  small  ones 
open.  An  S  hook  passed  through  the  loop 
made  by  the  three  chains  will  serve  to  connect  them  to  the 
chain  which  should  suspend  the  lantern  from  the  ceiling. 


Lantern. 


410 


Winter. 


A  Music-Roll 

can  be  made  of  the  pasteboard  roll. 

Cut  a  round  piece  of  pasteboard  just  the  size  to  fit  into  one 
end  of  the  roll  ;  then  cut  out  another  round  piece,  this  time  of 
paper,  one  inch  larger  than  that  made  of  pasteboard.  Clip  the 

edges  (Fig.  333)  and  paste  it  over 
the  end  of  the  roll  which  is  filled 
in  with  the  round  of  pasteboard 

(Fig.  334). 

Among  the  scraps  of  silk  and 
ribDons  you  will,  perhaps,  find   a 


Fig.  333.— Paper 
Covering  for 
End  of  Music- 
roll. 


Fig.  334.—  Pa- 

per      Pasted  ,      -         ,        •  r    J       1 

over  End  of  good-sized  piece  of  dark-green  or 
Music-roii.     brown  silk  .   use  this  for 


case, 

which  must  cover  the  roll  neatly.  To  make  the  case  fit  the 
end  of  the  roll  you  have  just  filled  up,  mark  on  a  piece  of  the 
silk  a  circle  the  size  of  that  end  of  ,  the  roll.  This  can  be 
done  by  standing  the  roll  on  the  silk,  and  running  a  pencil 
around  the  edge.  When  cutting  out  the  silk  leave  a  margin  of 
a  quarter  of  an  inch  on  the  outside  of  the  pencil-mark  for  the 
seam.  Cut  the  silk  for  cover- 
ing the  roll  three  inches  longer 
than  the  roll, 
and  wide 
enough  to 
allow  for  a 
quarter  of  an 
inch  seam. 

Sew  up  the  long  seam,  and  then  sew  the  round  of  silk  into  the 
end  of  the  case.  Hem  the  other  end  of  the  case,  and  run  in  a 
narrow  ribbon  about  an  inch  from  the  edge.  This  is  for  a 
draw-string. 

When  the  roll  is  fitted  snugly  in  its  case,  tie    a  ribbon, 


Music-roll. 


What  to  do  with  Rubbish. 


411 


matching  it  in  color,  around  the  roll,  making  a  loop  to  form 
the  handle.  Fasten  the  ribbon  by  taking  a  few  stitches  under 
the  bows,  catching  them  on  to  the  silk. 

The  old  straw  hat  can  be  transformed  into  a  dainty 

Work-Basket. 

It  is  stiff  and  harsh  at  present,  but  pour  boiling  water  over 
it  and  the  straw  will  become  soft  and  pliable,  and  can  be  bent 
into  any  shape  you  like.  When  dry,  it  will  be  again  stiff,  and 
will  retain  the  form  you  have  given  it.  After  scalding  the  hat 
bend  the  brim  in  toward  the  centre,  in  four  different  places,  at 
equal  distances  apart.  This  will  make  a  fluted  basket.  You 


Fig.  335.— Straw  Hat  Tied  in  Shape  for  a  Work-basket. 

Work-basket. 

must  tie  it  in  shape  (Fig.  335)  and  leave  until  perfectly  dry  ; 
then  bronze  the  basket,  line  it  with  silesia,  and  sew  silk  or 
satin  around  the  top  to  form  a  bag.  Run  a  draw-string  of 
narrow  ribbon  near  the  top  of  the  bag,  and  the  pretty  little 
work-basket  is  finished. 


412 


Winter. 


The  croquet  ball  you  can  make  into  a 

Key  and  Button-Hook  Rack. 

First  you  must  gild  it,  and  then  around  the  middle  of  the 
ball,  at  regular  intervals,  insert  small  brass  hooks.    A  yellow  rib- 
bon and  bow,  tacked  on  the  top  with  small  tacks, 
will  serve  to  suspend  it  by,  and  completes  the  rack. 
With  the  gilt  left  from  gilding  the  ball,  and  a 
piece  of  bright  ribbon  you  can  make  a 

Paper- Weight 

of  six  of  the  large  nails.  Gild  each  nail  separate- 
ly, let  them  dry,  and  then  tie  them  securely  to- 
gether with  a  piece  of  ribbon. 


Key  Rack. 


Paper-weight. 


All  the  articles  brought  from  the  attic  have  now  been  turned 
to  some  use,  but  there  are  many  other  things  to  be  found  there 
which  we  have  not  space  to  mention,  and  which  with  little 
trouble  can  be  so  transformed  that  no  one  would  ever  suppose 
they  were  taken  originally  from  a  heap  of  rubbish. 


CHAPTER  XXXVII. 


HOW    TO     MAKE    ATTRACTIVE     BOOTHS    AT     A 
FAIR— A    NEW    KIND    OF    GRAB-BAG. 

ECIDING  to  have  our  fair  un- 
like those  which  have  preced- 
ed it,  we  must  do  away  with 
monotony  and   introduce   not 
only  variety,  but  originality  as 
well.     New   ideas,   something 
different  from  that  which  has 
served  us  heretofore, 
is  what  we  strive  for. 
Novelties  are  always 
attractive,    let    them 
be    decorative     also, 
and  help  to  make  the  room  or  hall  as  inviting  as  possible. 

The  Tables 

being  the  most  important  item,  we  will  give  them  our  first 
attention.  Have  each  table  or  booth  canopied  in  a  style  dif- 
fering from  all  others,  and  make  the  canopy  extend  up  as  high 
as  practicable,  in  order  to  avoid  the  flat,  blank  appearance  so 
common  in  small  fairs.  If  tables  are  arranged  in  this  fashion, 
they  will  go  far  toward  decorating  the  hall.  Fig.  336  shows 
one  style  in  which  a  framework  for  the  roof  or  covering  may 
be  constructed.  At  the  four  corners  of  the  table,  where  the 
top  projects  over  the  sides,  fit  in  blocks  of  wood  according  to 
Fig.  337  ;  the  dotted  lines  represent  the  block.  Nail  the  wood 


The  Fair. 


How  to  Make  Attractive  Booths.         415 

fast  to  the  table,  so  that  the  uprights  may  stand  perfectly 
straight.  Use  laths  or  similar  sticks  for  the  four  uprights,  and 
screw  or  nail  them  at  the  corners 
of  the  table  according  to  Fig. 
336  ;  then  with  small  screws  fast- 
en a  stick  across  the  top  of  the 
laths  at  each  side,  and  at  the  top 
of  the  sticks  on  the  front  of  the 
table  tie  the  two  ends  of  a  barrel- 
hoop  to  form  the  arch  ;  also  at- 
tach another  hoop  at  the  back  to 
the  other  two  uprights,  and  con- 
nect the  top  centre  of  each  by  a 
wire  running  across.  The  hoops 
are  fastened  to  the  laths  by  bind- 
ing the  ends  of  the  hoops  to  the 
ends  of  the  laths  with  strong 
twine,  or  wire,  wound  around  in 
notches  which  have  previously 
been  cut 

in  the  ends  of  both  sticks  and  hoops. 
Should  the  barrel-hoops  be  too  short  for 
the  arch,  take  children's  large-sized  toy 
Fig.  337.  —  Block  of  wooden  hoops,  and  fasten  them  up  in  the 
the°°kie^3TaWe.  °  *  same  manner.  Fig.  338  is  another  way 
to  arrange  the  framework.  The  four  up- 
right sticks  are  attached  to  the  table  as  described  in  Fig. 
336  ;  then  in  the  top  of  each  is  driven  a  very  large- 
sized  tack,  and  a  strong  flexible  wire  is  stretched  from 
lath  to  lath  and  wound  around  each  tack,  thus  connecting  the 
four  uprights  together.*  Flags,  shawls,  drapery  curtains,  sheets, 


Fig.  336 — Framework  for  the  Canopy  of 
a  Booth  at  a  Fair. 


*  If  the  uprights  seem  to  need  it,  brace  them  with  cross-sticks  in  place  of  wire. 


416 


Winter. 


and  inexpensive  cheese-cloth  make  good  canopies  ;  undressed 
cambric   and  canton  flannel  in  desirable  colors  drape   nicely, 

and  can  also  be  used  for  the  purpose. 
Where  you  wish  to  produce  light, 
airy  effects,  tarlatan,  in  one  or  more 
colors,  will  be  found  useful  ;  again, 
let  some  of  the  tables  have  only  a 
suggestion  of  a  roof,  made  by  orna- 
menting the  framework  with  flowers, 
or  whatever  is  most  suitable,  accord- 
ing to  the  style  of  table  and  the  place 
it  is  to  occupy. 

Try  and  have  a  variety  of  shapes 
and   sizes   in   the    booths,    and   avoid 
sombre  dulness  and  monotony.     Let 
IJ~~  the    room    fairly    sparkle    and    shine 
with  light  and  color. 

Fig.  338.— Construction  of  Frame- 
work for  the  canopy  of  a  Table  To    make    a    tent-like    covering, 

firmly    bind    a    large-sized    Japanese 

umbrella  to  a  pole,  and  fasten  the  pole  in  the  centre  of  the 
table.  To  hold  it  securely,  make  a  bench  of  two  pieces  of 
board,  with  a  hole  through  the  centre  of  each,  and  join  them 
together  by  a  block  of 
wood  nailed  in  each  end 
(Fig.  339).  The  bench 
can  be  made  fast  to 
the  table  by  screws  put 
through  from  the  under 
side  of  the  top  of  the 
table. 


Fig.  339.— Bench  for  Holding  a  Pole  as  a  Support  fo# 
a  Canopy  of  a  Booth. 


In  erecting  the  can- 
opy place  the  end  of  the  pole  in  the  bench  and  it  will  be  steady 
and  firm.     Attach  pieces  of  string  to  several  ribs  on  each  side 


How  to  Make  Attractive  Booths.         417 


of  the  umbrella,  stretch  the  strings  down  and  fasten  the  ends 
securely  to  the  table  ;  paste  over  the  strings  bright-colored 
tissue-paper  fringe  (Fig.  340).  Cut  the  paper  four  or  six  thick- 
nesses, and  when  pasted  on  turn  the  fringe  part  uppermost,  so 
it  will  look  fluffy  and  not  hang  down  in  a  tame,  fringe  fashion. 
When  a  red  umbrella  is  used,  and  the  strings  are  covered  with 
fringe  of  the  same  hue,  it  looks  very  pretty.  Be  extremely  care- 
ful that  no  light  comes  dangerously  near  the  tissue-paper,  or 
any  other  inflammable  material ;  all  the  decorations  must  be 
arranged  with  a  view  to  perfect  safety  from  contact  with  gas, 
lamp,  or  candle. 

In  decorating  the  room  remember  to  mass  your  color  so  the 
effect  may     . 
be    broad. 

If  the  colors  are  too  much 
mingled  the  effect  will  be 
weakened,  and  in  some  cases 
lost  entirely. 

Paper-flowers  and  plants 
in   great  abundance  will  be 

,     .  _  Fig.  340— Tissue-paper  Fringe. 

needed,  and  if  you  can  per- 
suade all  your  friends,  as  well  as  those  actively  interested  in  the 
fair,  to  make  paper-flowers  or  plants,  they  will  prove  very  ac- 
ceptable, and  after  the  fair  is  over  the  floral  decorations  can 
be   safely   stored   away  to  do  service  again   on  like  occasion. 
Large,  showy  flowers,  like  peonies,  dog-wood,  and  magnolias, 
as  well  as  large-leaved  plants,   are  best  to  use,  though  the 
smaller  ones  look  well  in  a  few  places. 
In  making 

Flowers  for  Decorations 

we  aim  at  general  effect,  with  less  regard  to  detail  than  if  the 
blossoms  were  to  be  used  in  other  ways.     Fig.  341   is  a  pat- 
27 


418 


Winter. 


Fig.  341.— Dog- wood. 


tern  of  the  dog-wood.  Cut  the  flowers  of  white  writing  paper 
and  make  them  quite  large.  Use  wire  to  fasten  them  to  a 
natural  branch,  and  imitate  nature  as 
nearly  as  possible  in  the  arrangement  of 
the  blossoms. 

If  you  fold  the  paper  a  number  of 
times  and  then  place  your  pattern  over 
it,  you  can  cut  out  six  or  eight  flowers 
at  once,  and  save  both  time  and  labor. 

Peonies  are  made  of  white,  pink,  or 
red  tissue-paper,  cut  in  squares  of  about 
eight  inches  each  and  pinked  on  the  two 
opposite  edges.  Twelve  squares  are  needed 
for  one  flower.  With  your  fingers  gather  the 
squares  up  in  the  centre  (Fig.  342) ;  then  fold 
over  the  pieces,  as  in  Fig.  343  ;  when  all  are 
ready  string  them  on  a  wire  and  shape  the 
bunch  to  resemble  a  peony  ;  twist  the  wire 
up  tight  and  fasten  the  petals  together,  leav- 
ing a  length  of  wire  for  a  stem. 

Make  the  cherry-blossoms  (Fig.  344)  in 
clusters  of  five  or  seven  each,  and  attach  green 
leaves  (Fig.  345)  cut  in  different  sizes.  Fig. 

346  shows  the  method  of  giving  the  leaf  a 
pretty,  crimped  appearance.  By  holding 
the  point  of  the  leaf  firmly  under  the  head 
of  the  pin  with  your  left  hand,  and  with 
the  right  hand  pushing  the  leaf  up  toward 
the  head  of  the  pin,  you  can  crimp  the 
leaves  very  rapidly,  and  they  look  much 
more  natural  than  when  left  plain. 
All  the  materials  necessary  for  the  manufacture  of  flowers 
for  fair  decorations  will  be  paper,  wire,  and  paste.  The  buds 


342.— Peony  Petal 
Gathered  through  the 
Centre. 


Fig.  343.— Peony  Petal 
Folded  over. 


How  to  Make  Attractive  Booths. 


419 


of  different  flowers  can  be  imitated  by  pinching  together  the 
petals  of  open  blossoms.  Figs.  347,  348,  349  are  the  petals 
of  the  magnolia  ;  the  inside  petals  are  five  and  one- 
half  inches  long,  the  others  in  proportion.  Cut  three 
of  each  size.  No.  347  forms  the  innermost  petals, 
No.  348  the  next,  and  No.  349  the  outer- 
most ;  these  last  should  be  double  ;  make 
the  outside  of  pink  tissue-paper  and  the 
inside  white,  all  the  other  petals  are  white  ; 
cut  three,  from  Fig.  350,  of  green  paper  to 
form  the  calyx. 

Other  ornamental  flowers  may  be  manu- 
factured from  these  hints.     Patterns  can 
be   cut  from   any  natural   flowers,   and 

they  may  be 
made  without 
the  aid  of  fur- 


wo 


Fig.  344.— 
Cherry 

Blossom. 


Fig.  346. — Method  of  Crimping  Leaf. 


ther  directions.  When  natural  blossoms  can  be  obtained,  they 
are  far  preferable, 
though  the  paper 
plants  make  splen- 
did substitutes  and 
at  a  little  distance 
cannot  be  distin- 
guished from  the 
natural  ones. 

If  the  fair  comes 
off  in  the  season 
when  the  trees  are 
leafless,  bare 
branches  with  green  paper  leaves  wired  on  will  help  very  much 
where  foliage  is  needed. 

An  excellent  scheme  in  the  arrangement  of  a  fair  is  to  divide 


Fig.  347. 


Fig.  348. 


Fig.  349. 


420  Winter. 


the  tables  into  twelve  separate  booths  and  let  each  one  represent 
one  month  in  the  year.  They  should  contain  articles  appropri- 
ate only  to  the  month  represented,  and  when  planned  in  this 
way  each  month  should  be  of  appropriate  color.  For  example  : 

December 

can  be  all  white,  with  tufts  of  cotton  scattered  about  for  snow, 
and  mica  or  isinglass  sprinkled  around  and  over  places  to  rep- 
resent frost  and  ice.  Icicles,  varying  in  size,  depending  from 
the  arch  or  canopy,  add  to  the  effect.  The  icicles  are  made  of 
strips  of  paper  first  rolled  up  like  paper-lighters,  then  com- 
pletely covered  with  tallow  from  the  dripping  of  a  lighted 
candle  ;  the  tallow  being  allowed  to  harden  on  in  raised  places 
makes  the  twisted  paper  resemble  in  form  a  real  icicle  ;  the 
tallow  icicle  is  next  covered  with  a  wash  of  mucilage,  and 
powdered  mica  or  isinglass  is  sprinkled  all  over  it,  so  that  it 
sparkles  and  shines. 

In  place  of  the  usual  grab-bag  at  this  booth,  there  should  be 
a  Christmas-tree  without  lights  and  burdened  with  little  gifts 
tied  up  in  colored  tissue-paper.  Santa  Claus  must  have  charge 
of  the  tree. 

July 

calls  for  flags  and  decorations  of  red,  white,  and  blue,  as  well  as 
flowers,  fruits,  and  green  foliage  ;  the  table  should  be  presided 
over  by  Columbia. 

May. 

Deck  this  table  in  spring  blossoms  and  make  the  canopy  of 
a  slender  May-pole.  Pass  the  pole  through  the  holes  in  the 
bench  (Fig.  339)  and  screw  the  bench  tight  on  the  centre  of 
the  table  ;  fasten  a  wreath  of  flowers  and  the  ends  of  a  number 
of  ribbons  at  the  top  of  the  pole  ;  bring  the  ribbons  down  and 


How  to  Make  Attractive  Booths.         421 


tack  them  to  the  sides  of  the  table.  Give  the  Queen  of  May 
care  of  the  booth. 

November 

may  be  gay  with  late  fall  leaves  and  berries,  and  a  very  large 
pumpkin,  which  has  been  previously  scraped  out  and  lined 
with  paper,  can  serve  as  a  receptacle  for  odds  and  ends.  A 
little  Puritan  maid  should  be  in  charge  of  the  booth. 

June 

is  all  rose  color,  with  the  queen  of  flowers,  the  rose,  holding  the 
post  of  honor.  This  month  is  very  suitable  for  the  flower-table, 
and  Flora,  the  Goddess  of  Flowers,  may  preside  over  it. 

We  have  chosen  these  few  months  only  as  suggestions  of 
the  manner  in  which  the  idea  can  be  carried  out. 

Those  in  charge  of  the  different  booths  might  wear  as  a 
badge  a  conspicuous  sign  of  the  zodiac  appropriate  to  the 
month  represented. 

The  Five  Senses 

can  be  illustrated  by  five  booths,  each  one  bearing  its  proper 
symbol  as  a  sign.  To  represent 

HEARING, 

make  a  large  pasteboard  ear-trumpet  and  cover  it  with  silver 
paper  ;  fasten  this  on  the  highest  point  of  the  booth  and  place  the 
word  Hearing  in  large  letters  under  the  trumpet ;  have  these 
signs  in  plain  sight,  where  none  can  fail  to  see  and  read.  The 
articles  on  the  table  should  consist  of  everything  pertaining  to 
the  sense  of  hearing,  such  as  sheet-music,  musical  instruments, 
telephones,  and  suitable  toys. 

It  would   be  a  great  addition  if  a  phonograph   could  be 


422  Winter. 


rented  or  borrowed  for  the  occasion,  and  a  certain  sum  charged 
to  each  one  speaking  in  the  instrument  and  hearing  the  echo  oi 
his  own  words  and  tones  ground  out  to  him  again. 

An  oracle  would  be  a  capital  thing  at  this  table,  each  per- 
son consulting  it  paying  so  much  a  question. 

SEEING 

likewise  must  be  labelled  with  a  sign  in  the  shape  of  a  very  large 
pair  of  spectacles  cut  out  of  stiff  pasteboard  and  placed  over  the 
lettering. 

The  goods  offered  here  for  sale  should  pertain  to  the  sense 
of  sight ;  and  could  be  such  articles  as  pictures,  decorated 
candles,  kaleidoscopes,  and  common  blue  glasses.  All  things 
pleasing  to  look  upon  may  find  place  at  the  Seeing  Table. 
Any  kind  of  a  peep-show  can  be  used,  five  cents  being  required 
from  every  curious  person  wishing  for  a  peep  behind  the  cur- 
tain. 

FEELING 

is  more  difficult  to  portray.  Perhaps  an  ordinary  riding-whip 
will  answer  the  purpose,  with  the  word  Feeling  in  large  type 
under  it. 

Sofa-cushions,  quilts,  mittens,  canes,  muffs,  fancy  toilet 
articles,  and  almost  anything  adding  to  our  personal  comfort, 
or  pleasant  to  handle,  are  suitable  for  the  Feeling  booth. 

TASTING. 

As  an  emblem  for  this  booth  make  a  huge  cornucopia  for 
candy,  with  the  sign  "  Tasting  "  beneath,  and  the  booth  can  be 
the  candy-table. 

SMELLING 

naturally  suggests  perfumes  and  sweet-scented  flowers.  This 
sense  will  most  fitly  be  represented  by  an  immense  bouquet 


How  to  Make  Attractive  Booths.         423 


fastened  up  over  the  table.  The  booth,  of  course,  must  be  the 
flower-table. 

If  you  have  only  a  few  tables,  make  four  booths  of  them,  and 
let  each  booth  represent  a  season.  They  should  be  decorated 
in  keeping  with  the  time  represented,  and  the  idea  fully  car- 
ried out  in  all  the  details. 

When  the  booths  stand  for  different  nations  there  is  a  great 
field  for  variety  and  beautiful  decoration.  But  in  this,  as  in  all 
cases  where  an  attempt  is  made  to  carry  out  an  idea,  it  must  be 
faithfully  adhered  to,  or  the  effect  will  not  be  that  intended. 

When  it  is  necessary  to  decorate  the 


Walls 

use  flags,  bright,  soft  draping  cloth,  and  large  palm  leaves  ; 

also  branches  of  leaves,  showy  flowers,  and  anything  that  can 
be  arranged  to  look  well.  As  rooms  differ  so 
much  in  size  and  style,  it  is  impossible  to  give 
any  but  general  directions,  leaving  it  to  the  taste 
of  the  decorator  to  carry  out  the 
details. 

Grab-Bags. 

On  a  narrow  sheet  hung  up  in 
a  door-way,  and  fastened  secure- 
ly at  the  sides,  or  attached  to  a 
frame,  cut  a  hole  large  enough  to 
allow  of  a  false  face  being  fitted 
in  (Fig.  351  A).  The  flaps  of  the 
cloth  are  left  for  pasting  inside  the  face  ;  now 
cut  two  more  holes  for  the  arms  to  pass  through 
(Fig.  351  B).  In  these  holes  sew  sleeves  of  the  same  material 
as  the  skirt,  which  is  made  of  bright-colored  cambric  in  the 


Fig.  351.— Grab- 
bag  of  a  Sheet 
with  Holes  Out 
for  Face  and 
Arms. 


Fig.  352.— Apron 
Skirt  Sewed  oa 
Sheet. 


424 


Winter. 


form  of  an  apron,  and 
sewed  on  the  sheet 
(Fig.  352).  The  sides 
of  the  skirt  are  basted 
down  on  the  sheet. 
When  pasting  in  the 
false  face,  first  cover 
the  flaps,  left  at  the 
opening  for  the  face 
with  stiff  paste  ;  then 
paste  these  flaps  down 
into  the  inside  of  the 
false  face,  which  will 
bring  it  up  close 
against  the  sheet.  If 
small  openings  are  left, 
or  the  sheet  puckers  a 
little  after  the  face  is 
fastened  on,  never 
mind,  as  all  defects 
can  be  covered  by 
sewing  on  a  thin  white 
frill  all 


Fig.  353.— Grab-bag. 


o 


o     o 


around 
the  face, 

to  form  a  cap,  and  making  a  collar  of  the  same 
material  (Fig.  353). 

Leave  an  opening,  or  pocket-hole,  through 
the  sheet  at  one  side  of  the  dress,  so  that  the 
hand  can  be  slipped  through  to  get  the  packages, 
which  are  placed  within  reach  at  the  back  of  the 
curtain.  Fig.  354  shows  the  inside  of  the  sheet,  Fig.354.-inside  of 

JJ  Sheet    for   Grab- 

and  C  the  opening  for  the  hand.     Someone  must     bag 


0 


How  to  Make  Attractive  Booths.         425 

stand  or  be  seated  behind  this  curtain,  and  slip  her  arms  into  the 
sleeves,  then  she  can  look  out  through  the  mask  and  see  with 
whom  she  is  talking.  In  one  hand  she  may  hold  a  package, 
while  she  receives  the  money  with  the  other. 

On  the  sheet  print  these  words  :  "  Five  cents  for  what  is  in 
my  pocket." 

The  Lady  of  the  Lake. 

You  will  need  a  tin  bath-tub  for  the  lake,  the  longest  one  you 
can  find,  and  a  toy  boat  which  will  not  easily  tip  or  turn  over. 
Place  tiny  flags  in  the  bow  and  stern,  and  in  one  end  of  the 
boat  glue  a  doll  dressed  like  the  "Lady  of  the  Lake"  in  Scott's 
poem.  Attach  a  pulley  to  each  end  of  the  tub,  and  fasten  the 
string  to  the  boat,  as  it  must  be  run  back  and  forth  by  means  of 
the  pulleys.  Fill  the  tub  nearly  full  of  water,  then  cover  the 
edges  with  moss  and  vines.  The  bath-tub  must  be  completely 
disguised,  and  surrounded  by  plants  and  foliage,  with  an  opening 
left  at  one  end  for  purchasers,  and  another  small  one  near  the 
other  end  for  the  boat  to  pass  through  to  those  stationed  be- 
hind the  shrubbery,  who  have  charge  of  the  boat,  and  where  the 
parcels  are  kept.  At  the  store-room  end  the  screen  of  vines 
or  leaves  should  be  so  arranged  that  those  in  charge  can  see 
all  that  is  going  on  outside  without  being  seen  themselves. 

The  boat  should  be  stationed  at  the  farther  end  of  the  lake, 
and  whoever  wishes  to  make  a  purchase  must  give  the  doll  five 
cents  ;  then  the  boat  may  immediately  leave,  sail  across  the 
lake,  and  disappear  behind  the  screen,  only  to  emerge  again 
laden  with  a  parcel  in  place  of  the  money,  and  lightly  skimming 
over  the  water  arrive  at  her  destination,  when  the  purchaser 
can  relieve  the  "  Lady  of  the  Lake  "  of  her  package. 

The  Bubble  Range  described  on  page  335  can  be  used  in  a 
fair  with  advantage.  Unless  the  fair  is  very  small,  it  is  bet- 
ter to  have  two  Bubble  Ranges,  to  prevent  the  tiresome  waiting 


426 


Winter. 


for  a  turn,  and  give  all  who  wish  to  try  their  skill  the  oppor- 
tunity to  enjoy  the  sport. 


Fortune's  Wheel. 

Cut  of  stiff  pasteboard  a  large  circle  (Fig.  355)  with  a  point 
on  the  edge  at  the  end  of  one  of  the  spokes,  for  the  circle  must 
be  painted  to  resemble  a  wheel.     With  a  large 
round  nail  fasten  the  wheel  through  the  centre 
to  a  board,  which  has  previ- 
ously had  numbers  painted 
on    in    a   circle    somewhat 
larger  than  the  circumfer- 
ence of  the  wheel  (Fig. 
356);  the  wheel  should 
turn  around  easily  on 
the  nail.      Hang  the  board  up  flat 
against  the   wall.     The   gypsy  in 
charge    of    the    Fortune's    Wheel 
should   be   stationed  by  its   side, 
holding  a  basket  filled  with  many 
envelopes  numbered  to  correspond 
to  the  figures  on  the  board,  each 
envelope  containing  some  appro- 
priate   fortune-telling   lines  ;    and 
when    the    people    come    to    seek 
their  fortunes  the  gypsy  must  al- 
low each  in  turn  to  give  the  wheel 
a  twirl,  sending  it  around  rapidly, 
and    then    hand    to    the    fortune- 
seeker  an  envelope  whose  number 

corresponds  with  the  figure  at  which  the  wheel  pointed  when  it 
stopped  turning. 


How  to  Make  Attractive  Booths. 


427 


Rag- Balls. 

Prepare  a  number  of  carpet-rag  balls  with  a  small  gift  in  the 
centre  of  each  one.  These  sell  rapidly,  and  it  is  very  amusing 
to  see  the  buyers  unwinding  their  balls  to  discover  the  contents, 
which  may  prove  to  be  a  thimble,  a  bundle  of  jackstraws,  a 
grotesque  Japanese  toy,  or  any  little  comical  conceit  which  can 
be  hidden  in  the  odd  receptacle. 

The  same  idea  might  be  applied  to  the  always  pleasing  pop- 
corn balls ;  then  the  knick-knacks  must  be  first  wrapped  in  soft 
paper  to  protect  them  from  the  candy  used  in  making  the  balls. 

Pleasant  mysteries  and  surprises  are  always  popular  at  fairs, 
and  the  more  that  can  be  invented  the  better. 


ii.ii; .'  illilillllliMllllpllllliMM  ,.;n'iUi jii.jii: 

\l     I     i     J     I         I 


Window  Decorated  with  Imitation  Stained  Glass  and  Dutch  Curtain. 


CHAPTER   XXXVIII. 
WINDOW  DECORATION. 

'OW,  girls,  we  must  have  practicable 
ideas  in  regard  to  our  decorations ; 
they  should  consist  of  something  which 
we  know  will  be  easy  to  make  and  at 
the  same  time  look  well  ;  the  ma- 
terials employed  must  be  within  possi- 
ble reach  of  all,  and  nothing  expensive 
or  difficult  to  obtain  allowed  to  enter 
into  their  manufacture.  What  are  com- 
monly called  Dutch  curtains  are  very  popular ;  they  are  short 
curtains  of  some  thin,  transparent  fabric,  fastened  with  rings  to 
a  slender  rod  of  bamboo,  and  when  drawn,  cover  the  lower  part 
of  the  window  without  intercepting  the  light.  The  curtains 
are  very  useful,  but,  while  they  do  not  obstruct  the  light,  they 
do  obstruct  the  vision. 

We  all  know  that  the  front  window  is  just  the  place  to  sit 
when  sewing  or  doing  fancy-work,  and  although  few  ladies  care 
to  be  seen  by  every  passer-by,  yet  they  all  like  to  see  what  is 
going  on  outside,  and  while  their  deft  fingers  ply  the  needle 
their  bright  eyes  take  in  the  landscape  out  of  doors  and  de- 
rive amusement  and  entertainment  from  the  birds  and  flowers, 
if  it  be  in  the  country,  or  the  ever-moving  throng,  if  in  the 
city. 

An  ornamental  screen,  therefore,  that  will  shield  one  and 


430 


Winter. 


yet  not  interfere  with  the  view  is  desirable.     What  might  be 
termed  the 

Oriental  Window-Shade 

not  only  comes  up  to  the  above  requirements,  but  is  inexpen- 
sive, and  not  difficult  to  construct. 

Make  a  small  lawn-tennis  net,  long  enough  to  reach  across 
the  width  of  the  window  and   about   eight  inches  deep  ;    make 

loops  of  the  rope  on  the  ends  for 
hanging  the  screen  to  knobs   or 
hooks  screwed  in  the  framework 
of  the  window  ;    spread  the  net 
out  and  fasten  it  up  on  a  door, 
between  two  chairs,  or  any  convenient  place; 
then  cut  a  number  of  pieces  of  fine  twine,  about 
Fig.  357.— Manner  of  four   feet   long,    and    attach 
Ortenfcfi  window*  them,  a  quarter  of   an  inch 
shade.  apart,  along  the  bottom  rope 

(Fig.  357) ;  A  shows  a  loosened  loop  and  B  the 
tightened  ones.  The  ends  of  the  twine  hang 
free.  On  each  double  strand  string  glass  beads 
and  slender  pieces  of  bamboo,  reeds,  painted 
clay  pipe-stems,  or  macaroni  broken  in  pieces  of 
equal  length  and  used  in  their  natural  color,  or 
painted  with  oil-paints  to  any  desired  tint.  Have 
the  reeds  four  inches  long,  and  thread  them  on 
alternately  with  the  beads  (Fig.  358) ;  or  you  can 
form  a  design  by  cutting  the  reeds  into  different 
lengths  ;  at  the  end  of  each  strand  fasten  a  large 
bead  or  glass  button.  A  very  simple 


Ribbon-Curtain 
is  of  red,  blue,  yellow,  and  black  ribbons  all  cut 

-  .  '.;  ,  ,  -  .       ,     -Fig.  358. -Fringe  of 

the  same  length  and  sewed,  a  quarter  of  an  inch   Macaroni  and  Beads 


Window  Decoration.  431 


apart,  on  a  narrow  strip  of  black  cloth  long  enough  to  reach 
across  the  window.  The  strip  may  be  used  as  a  band,  or  at- 
tached to  a  slender  pole  by  means  of  small  brass  rings. 
The  ribbons  should  be  silk,  and  thin  enough  to  admit 
of  the  light  shining  through  ;  they  hang  down  fringe- 
like,  with  three  glass  beads  fastened  on  the  end  of 
each  ribbon  (Fig.  359  or  Fig.  360).  If  you 


prefer  to  have  the  shade  all  one  color  make     ^.    3SO 
it  yellow,  which   gives   a   pleasant,  mellow 
light.     Any  pattern   you   choose   can   be   made  by 
taking  short  pieces  of  ribbon  and  joining  them  to- 

'  /O  gether  with  glass  beads.     In  this  way  bits  of  ribbon 
111         j'i-11         .,1  i  ,    t 


could    be   utilized,    but    those   used   must   be   semi- 
rig    360  —  transParent,  showing  the  color  when  held  up  to  the 
Beads  on  the  light.     Even  smooth  pieces  of  silk  with  their  edges 
neatly  hemmed  might  do  service,  only  be  very  care- 
ful to  join  either  ribbon  or  silk  with  the  beads  in 
such  a  manner  as  to  prevent  its  twisting  ;   the  beads  must  be 
heavy  enough  to  keep  the  fringe  straight. 

Nearly  all  homes  have  their  bags  of  silk  and  worsted  pieces, 
and  from  these  can  be  made  a  handsome 


Drapery  of  Very  Small  Scraps. 

Cut  the  pieces  of  silk  or  worsted  into  squares  about  an  inch 
each  way,  using  any  and  all  colors  ;  then  take  a  piece  of  twine 
of  the  length  you  desire  your  curtain,  and  with  a  large  needle 
string  the  bright  bits  on  the  twine  until  the  whole  string  is 
completely  and  closely  covered  ;  next  fasten  the  twine  well  to 
prevent  its  slipping,  and  with  a  large  pair  of  scissors  trim  off  the 
rough  edges  of  the  silken  strand  until  the  surface  is  rounded  and 
even  ;  on  one  end  attach  a  small  brass  curtain-ring,  and  on  the 
other  a  heavy  bead  or  button  ;  make  as  many  strands  as  you 


432  Winter. 


will  need  to  hang  across  the  window  and  fasten  them  to  a  pole 
in  which  small  hooks  have  been  screwed. 

This  drapery  resembles  chenille  ;  it  is  rich  in  color,  will  wear 
well,  and  is  best  adapted  for  full-length  curtains. 

As  a  substitute  for  stained  glass  we  give  directions  for 

Painting  Window-Panes. 

These  are  very  pretty  and  satisfactory.  If  good  designs  are 
chosen  the  window  will  surpass  in  beauty  your  expectations. 

The  materials  necessary  are  :  some  of  Winsor  &  Newton's 
transparent  colors,  such  as  rose-madder,  Prussian  blue,  raw 
and  burnt  umber,  burnt  sienna,  ultramarine,  gamboge,  ivory- 
black,  viridian  green,  and  orient  yellow.  Any  transparent 
color  can  be  used.  For  purple,  mix  rose-madder  with  Prussian 
blue. 

Prepare  the  paints  to  be  used  by  mixing  each  color  sepa- 
rately with  a  little  oil  and  siccatif  Courtray.  Almost  any  brush 
will  do  to  paint  with,  but  one  of  medium  size  made  for  oil- 
colors  is  the  best,  and  another  smaller  one  is  necessary  for  the 
outlining,  which  takes  the  place  of  leading  in  stained  glass. 
The  dabber  is  a  ball  of  raw  cotton  tied  in  a  piece  of  fine  cotton- 
cloth,  and  the  manner  of  tinting  or  grounding  is  exactly  the 
same  as  in  china-painting ;  lac-varnish  will  be  needed  as  a  wash 
after  the  painting  has  dried. 

When  you  have  an  opportunity,  carefully  examine  real 
stained-glass  windows,  and  you  will  see  that  each  window  is 
one  complete  design.  The  corners  and  borders  are  usually  in 
rich,  dark  colors,  while  the  central  portion  is  of  lighter  tints  or 
clear  glass. 

Always  make  your  corners  and  borders  first,  and  if  you  de- 
sire a  centre-piece,  it  should  be  placed  in  position  next,  and  the 
space  between  it  and  the  border  filled  in  afterward.  A  Gothic 


Window  Decoration. 


433 


window  may  be  imitated  by  painting  the   corners   black,  thus 
making  it  arched  at  the  top.     Very  often  good  patterns  can  be 


Fig.  361.— Border  Pattern. 

found  in  the  many  art  and  fashion  papers.  One  copy  may 
serve  for  an  entire  border,  if  it  be  pasted  at  the  four  corners  to 
one  pane  of  glass,  and,  when  that  is  outlined,  removed  and 
gummed  to  the  next,  and  so  on  until  the  border  is  finished. 
Fig.  361  is  intended  as  a  border. 
Fig.  362  is  a  very  simple  pattern 
of  cracked  glass,  which  you  can 
readily  make  without  any  copy. 
Place  a  ruler  across  the  woodwork 
of  the  window-pane,  first  one  way, 
then  another,  and  with  its  aid  paint 
your  straight  lines,  being  careful 
not  to  have  any  two  run  parallel.  A  conventional  design  is  al- 
ways to  be  preferred.  Should  any  mistakes  occur  during  the 
28 


Fig.  362.— Cracked  Glass. 


434  Winter. 


progress  of  the  work,  remove  the  paint  with  a  cloth  dampened 
with  turpentine  and  try  again.  The  painting  is  not  difficult, 
and  the  only  delays  are  in  waiting  for  the  colors  to  dry. 

First  decide  on  your  design,  then  trace  it,  making  the  out- 
lines heavy  and  black  ;  gum  the  pattern  by  the  four  corners  to 
the  outside  of  the  window-pane,  which  it  is  essential  to  have 
perfectly  clean  and  dry  ;  close  the  window,  and  with  a  small 
brush  dipped  in  black  paint  follow  the  outlines  of  your  copy, 
keeping  the  lines  of  equal  thickness  throughout ;  when  this  is 
finished  remove  the  pattern.  In  the  same  manner  go  over  all 
the  outlines  you  wish  to  make  on  the  window,  then  leave  the 
color  to  harden  and  dry,  which  will  probably  require  hours. 
Begin  again  by  laying  on  flat  washes  of  paint  to  match  the  pre- 
vailing colors  of  the  copy,  and  use  the  dabber  in  tinting  each 
color  as  it  is  applied,  so  the  surface  may  be  even  and  uniform. 
While  the  decoration  is  drying  it  is  best  to  protect  it  from  dust 
by  pinning  up  a  newspaper  or  a  large  piece  of  cloth  on  the 
window-frame.  When  dry,  the  painting  can  be  touched  up  if 
necessary. 

After  the  last  color  has  entirely  dried  apply  a  wash  of  white 
lac-varnish  ;  when  this  is  dry  give  the  window  another  coat  of 
lac-varnish  and  then  it  will  be  finished.  Should  your  copies  be 
in  black  and  white,  use  your  own  taste  in  coloring  the  glass. 

Another  method  of  imitating  stained  glass  is 

Painting  on  Lawn, 

batiste,  or  any  kind  of  sheer  white  muslin.  For  this  you  will 
need  the  same  paints  that  are  used  for  painting  on  glass  ;  these 
are  mixed  only  with  turpentine  and  the  color  put  on  as  a  stain. 
Cut  a  piece  of  new  thin  white  batiste  large  enough  to  cover 
a  window-sash,  with  a  margin  left  for  turning  in,  and  make 
an  outline  on  it  of  the  exact  size  of  the  sash  ;  then  select 


JVindow  Decoration.  435 

your  pattern  and  place  the  lawn  over  it,  when  the  outlines 
should  show  through  ;  trace  these  carefully  with  gum-arabic  dis- 
solved, but  made  very  stiff,  and  when  the  entire  design  has  been 
traced  let  the  gum  dry ;  then  go  over  it  with  ivory-black  un- 
mixed ;  this  latter  makes  the  leading  ;  be  careful  to  keep  the 
lines  even  and  of  the  same  size.  When  the  outlines  have  dried 
fill  in  the  spaces  with  the  stains  made  of  paint  and  turpentine  ; 
the  gum  prevents  the  colors  from  spreading.  When  the  paint 
has  dried  you  may  add  a  few  touches  where  they  are  needed, 
and  the  stained-glass  design  will  be  ready  to  place  on  the 
window.  Use  stiff  mucilage  or  tiny  tacks  to  keep  it  in  place, 
having  first  turned  in  the  margin  left  for  the  purpose. 

An  attractive  window  can  be  made  with  the  upper  sash  of 
imitation  stained  glass,  while  the  lower  one  is  screened  by  a 
Dutch  curtain,  as  in  the  illustration. 

For  the  benefit  of  those  who  prefer  sewing  to  painting  we  now 
tell  how  to 

Imitate  Stained  Glass 

with  a  piece  of  stiff  white  rice-net,  such  as  is  commonly  used  for 
bonnet-frames,  and  some  pieces  of  thin  batiste,  or  lawns,  of  the 
requisite  colors.  Cut  the  rice-net  the  proper  size  and  lay  it  over 
your  design  ;  then  carefully  trace  off  the  pattern  ;  when  all  the 
outlines  are  finished  cut  the  different-colored  lawns  of  the  shape 
and  size  to  correspond  to  the  different  portions  of  the  design  ; 
baste  these  on  in  the  places  they  must  occupy  ;  then  sew  them 
on  with  the  Automatic  Sewing-machine,  following  with  coarse 
black  thread  the  outlines  on  the  wrong  side  of  the  foundation,  so 
that  the  chain-stitch  will  appear  on  the  right  side  to  form  the 
leading ;  or  the  stitching  maybe  made  by  hand,  or  a  very  narrow 
black  braid  can  be  used  as  leading.  When  all  the  batiste  is 
sewed  on,  cut  out  the  net  back  of  the  design  to  allow  the  light 
to  shine  through. 


436 


Winter. 


Fig.  363. — Imitation  of  Ground  Glass. 


We  have  seen  such  an  imitation  of  stained  glass,  and  when 
placed  up  against  the  window  it  was  very  good ;  but  care  must 

be  taken  to  have  the  colored 
lawns  thin  and  of  the  right 
shades ;  if  too  heavy  they  ob- 
struct the  light  and  the  colors  do 
not  look  bright. 

For  full-length  window- 
drapery  of  inexpensive  material 
there  may  be  had  at  any  of  the 
leading  dry-goods  stores  beau- 
tiful soft  fabrics,  in  yellows  and  different  colors,  the  designs 
of  which  equal  those  of  much  higher-priced  goods.  These 
draperies  hang  in  graceful  folds  and  come  as  low  as  ten  cents  a 
yard  ;  some  of  them  are  also  well  adapted  for  the  useful  Dutch 
curtains. 

Windows  of  Imitation  Ground  Glass 

can  be  made  of  white  tissue-paper,  cut  in  simple  patterns  and 
fastened  on  the  inside  of  the  glass  with  white  lac-varnish. 
The  window  must  be 
perfectly  clean  and  dry. 
If  possible  have  the 


Fig.  364.— Folded  Paper  with  Diamond  Pattern  for 
Imitation  of  Ground  Glass. 


pieces    of    tissue-paper 

exactly  the  same  size  as 

the  window-panes,  fold  and  refold  the  paper  lengthwise  until  it 

is  an  inch  or  so  in  width; 
then  cut  from  stiff  card- 
board your  pattern.  If  ifc 


Fig.  365.— Paper   Marked  with  Design  for   Imita- 
tion of  Ground  Glass. 


cut  it  in  halves 


be  a  diamond,  as  in  Fig. 
363,   have    it   exact,  and 
use  one-half  as  a  pattern,  place  this  on  the 


edge  of  the  paper,  as  in  Fig.  364,  and  with  a  lead  pencil  draw  a 


Window  Decoration. 


437 


line  around  it ;  remove  the  pattern  and  place  it  lower  down 
about  a  quarter  of  an  inch  from  the  first  tracing,  and  again 
mark  around  the  edge.  Continue  in  the  same  way  until  you 
have  the  pattern  marked  on  the  entire  length  of  the  tissue- 
paper.  Make  the  same  pattern  on  the  other  edge  of  the  paper 
(Fig  365).  Cut  out  the  pattern,  then  unfold  the  paper  and 
smooth  it  free  of  wrinkles ;  give  the  window-pane  a  thin  coat- 
ing of  white  lac-varnish,  and  apply  the  paper,  being  very  care- 
ful to  have  it  perfectly  smooth  when  on  the  glass.  Sometimes 
it  is  necessary  to  join  two  or  more  pieces  of  paper,  but  if  you 
are  careful  to  make  the  edges  come  exactly  together,  the  joins 
will  not  be  noticeable. 

Lac-varnish  dries  very  quickly,  and  it  takes  only  a  short  time 
to  decorate  a  window  in  this  manner. 

When  all  the  panes  of  glass  are  covered  with  tissue-paper, 
finish  by  varnishing  each  one  with  the  white  lac-varnish  ;  at 
a  little  distance  it  is  difficult  to  distinguish  a  window  so  covered 
from  one  really  formed  of  ground  glass. 

For  bath-rooms,  or  where  the  window  is  rather  out  of  the 
way  and  the  outlook  not  agreeable,  the  imitation  of  ground 
glass  is  suitable  and  useful. 


CHAPTER   XXXIX. 


FURNITURE  OLD  AND  NEW. 

NLY  the  other  day  we  were  appealed  to  by 
a  friend  for  suggestions  on  how  to  furnish 
a  room  prettily,  and  at  the  same  time  in- 
expensively, and  we  know  that  there  are 
many  girls  like  this  friend  who,  loving  to 
surround  themselves  with  beauty  and  com- 
fort, have  not  the  means  of  doing  so  in  the 
ordinary  way  ;  but  must  depend  largely 
upon  their  own  skill  and  ingenuity  for  the 
gratification  of  this  taste.  After  all,  there 
is  more  real  pleasure  in  planning  and  contriving  the  furnish- 
ing of  one's  room,  even  with  only  a  small  sum  for  outlays, 
than  there  is  in  ordering  a  set  from  the  furnishers  which  is 
exactly  like  a  hundred  others.  In  the  former  case  we  make 
our  room  expressive  of  our  individuality  ;  in  the  latter  we  walk 
in  the  beaten  track  of  those  who  have  little  or  no  individuality 
to  express. 

So  much  for  the  sentiment  of  the  idea.  Now  let  us  turn  to 
the  practical  side,  and  find  the  best  way  of  carrying  it  out,  and 
putting  our  theories  into  practice. 

In  mentioning  old  furniture  in  the  heading  of  this  chapter, 
we  do  not  allude  to  the  antiques  in  such  high  favor  just  now ; 
they  are  unique  and  handsome  enough  in  themselves,  requiring 
no  contriving  to  beautify  them  ;  but  there  are  few  families  who 
do  not  possess  furniture  that  is  out  of  date,  old-fashioned  without 


Furniture  Old  and  New. 


439 


being  antique  ;  furniture  that  time  and  hard  usage  has  reduced 
to  a  state  of  shabbiness  anything  but  beautiful,  yet  not  worth 
sending  to  the  cabinet-makers  to  be  furbished  up.  It  is  the 
renovation  of  such  furniture  that  will  help  much  toward  making 
a  room  pretty  and  attractive. 

We  need  not  attempt  to  restore  the  furniture  to  its  original 
state,  that  would  be  impracticable.  But  we  can  work  wonders  in 
transforming  it ;  in  turning  a  homely  article  into  one  that  will 
be  an  adornment  instead  of  a  blemish. 


Bookcase. 

Take,  for  instance,  an  old  bureau 
belonging  to  a  cottage  set.  The  mirror, 
perhaps,  is  broken,  or  if  it  is  not  it  can 
be  used  to  better  advantage  elsewhere. 
Removing  that,  there  is  left  merely  a 
chest  of  drawers,  which  we  will  proceed 
to  convert  into  a  bookcase  by  the  addi- 
tion of  shelves  placed  on  top.  If  you 
have  a  brother  who  is  handy  with  his 
tools  the  matter  is  simple  enough  ; 
without  him  a  carpenter  may  have  to 
be  employed  to  make  the  shelves,  or, 
by  taking  the  plan  and  measurements 
to  a  carpenter-shop  the  materials  can  be  obtained  ready  for 
use,  and  all  you  will  have  to  do  will  be  to  put  them  together. 
Although  there  is  a  saying  that  "  a  girl  can  never  drive  a  nail 
straight,"  we  have  reason  to  believe  the  contrary,  and  feel  sure 
that  a  little  practice  will  enable  most  girls  to  do  many  bits  of 
light  carpentry  work  as  well  as  the  boys.  Three  feet  is  the 
height  of  a  bureau  belonging  to  an  ordinary  set  of  cottage  furni- 
ture, so  we  will  take  that  as  our  standard  for  measurement,  and 
make  our  shelves  according  to  it. 


Fig.  366.— Diagram  of  Book, 
shelves. 


440  Winter. 


Fig.  366  is  the  diagram  for  the  frame  of  the  shelves.  The 
side  pieces  are  made  of  boards  three  feet  four  inches  long  and 
nine  inches  wide  ;  the  top  of  each  of  these  boards  is  sawed 
into  a  point  as  shown  in  diagram.  Four  cleats  made  of  sticks 
eight  inches  long  and  one  inch  thick  are  nailed  to  the  side  of 
each  board,  the  distance  between  being  nine  inches. 

The  frame  at  the  back  is  composed  of  two  boards  five  and 
one  half  feet  long  and  seven  inches  wide,  and  two,  three  feet  three 
inches  long  (the  width  of  the  bureau)  and  seven  inches  wide. 
One  of  these  short  boards  is  nailed  across  the  top  ends  of  the 
long  boards,  and  the  other  twenty-four  inches  below.  The  side 
pieces  are  nailed  to  the  back  as  shown  in  diagram,  the  nails 
being  driven  through  the  back  board  into  the  edge  of  the  side 
piece. 

When  the  frame  is  made  it  is  placed  on  the  bureau,  the  sides 
resting  on  the  top  and  the  long  back  boards  reaching  down  be- 
hind where  they  are  nailed  or  screwed  to  the  bureau.  The 
shelves  are  thirty-seven  inches  long  and  nine  inches  wide. 
They  rest  on  the  cleats  and  are  not  nailed  to  the  frame. 

Screws  may  in  some  places,  answer  better  than  nails. 

When  the  shelves  have  been  adjusted,  the  whole  is  painted 
a  dark  olive  green. 

If  the  knobs  are  removed  from  the  drawers  before  the 
bureau  is  painted,  and  brass  handles  substituted  afterward,  it 
will  add  materially  to  its  appearance. 

The  bookcase  shown  in  our  illustration  is  finished  off  with 
curtains,  which  hang  by  brass  rings  from  a  slender  bamboo  pole. 
The  pole  is  slipped  through  brass  hooks  screwed  into  the  side 
pieces  near  the  top. 

Curtains  of  canton-flannel,  or  any  soft  material,  are  suitable 
for  this  bookcase.  The  colors  may  be  a  combination  of  olive 
green  with  old  blue,  yellow,  cherry,  copper  color,  dark  red, 
or  light  brown. 


Furniture  Old  and  New. 


441 


The  Chair 

in  the  same  illustration  is  an  ordinary  rocking-chair  painted 
olive  green,  with  cushions  at  the  back  and  in  the  seat  stuffed 


Bureau  Transformed  into  a  Bookcase. 


with  excelsior,  covered  with  bright  cretonne,  and  tied  to  the 
chair  with  ribbons. 


442 


Winter. 


Chairs  of  this  kind  look  well  painted  almost  any  color  ;  one 
of  yellow,  with  yellow  cushions  and  ribbons,  is  exceedingly 
pretty, 

If  the  chair  to  be  remodelled  is  bottomless,  reseat 
it  in  this  way :  Cut  some  strips  of  strong  cotton  cloth 
about  one  inch  wide  and  sew  them  together,  lapping 
one  piece  over  another,  as  in  Fig.  367  ;  fasten  an  end 
on  to  the  edge  of  the  chair  with  a  tack,  and  then  pass 
the  cloth  back  and  forth  across,  each  time  putting  it 
under  and  bringing  it  over  the  edge  of  the  chair. 

When  the  seat  is  filled  up  with  the  strips  going  one 
way,  cut  the  cloth  and  tack  the  end  to  the  chair  ;  then,  Flg-367* 

commencing  at  the  side,  cross 
these  strips,  passing  the  cloth 
in  and  out  as  if  darning.  Fig. 
368  shows  just  how  it  is  done. 
Be  sure  to  draw  the  strip  as 
tightly  as  you  can  every  time 
it  crosses  the  chair,  for  if  too 
loose  it  will  sag  as  soon  as  the 
chair  is  used.  The  edge  of  the 
chair  may  be  covered  with  the 
cretonne,  or  a  ruffle  which  is 
sewed  around  the  cushion. 

Fig.  369  is  an  old  settee  fitted 
up  with  cushions,  and  a  sociable, 
comfortable  seat  it  is.  It  offers 

plenty  of  room  for  two,  and  ensconced  thereon  the  girls  may 
rock  and  talk  to  their  hearts'  content. 

These  settees  are  not  often  seen  in  the  city,  but  are  to  be 
found  in  many  a  farm-house  and  country  town.  The  one  from 
which  our  sketch  is  taken  is  painted  black,  but,  like  the  chair, 
it  would  look  well  any  color. 


Tig.  368.— How  to  Reseat  a  Chair. 


Furniture  Old  and  New. 


443 


Fresh,  dainty  prettiness  should  be  the  principal  feature  of  a 
young  girl's  room,  and  this  can  be  obtained  at  very  little  ex- 
pense, much  less  than  most  persons  suppose. 

ig-    37°   shows  what  can  be  done  with  the  commonest 


Fig.  369.— Come  and  Sit  Here. 


kind  of  furniture.  This  can  be  bought  at  the  manufacturer's 
unpainted,  and  may  be  left  its  natural  color  and  simply 
varnished,  or,  following  the  present  fashion,  it  can  be 
painted  white,  and  decorated  with  slender  bands  or  circles  of 
gold. 


444  Winter. 


As  in  the  illustration, 

The  Bedstead 

should  have  drapery  suspended  over  it.  This  gives  a  soft, 
pretty  effect,  and  takes  away  its  stiffness.  Dotted  swiss  or 
thin  cottage  drapery  answers  the  purpose  nicely. 

Ten  yards  of  material  cut  in  two  breadths  of  five  yards  each 
are  required  for  these  curtains.  The  breadths  must  be  sewed 
together  lengthwise  and  then  passed  through  a  small  wooden 
hoop  which  has  been  gilded  or  painted  white. 

When  the  hoop  is  directly  in  the  middle  of  the  breadths,  the 
material  must  be  brought  together  close  to  the  hoop  and  two 
of  the  edges  sewed  or  basted  together.  This  seam  is  to  go 
at  the  back  and  keep  the  curtain  from  parting  and  hanging 
in  two  strips. 

A  ruffle  of  the  same  material,  or  lace,  sewed  on  the  edge 
and  across  the  ends  of  the  drapery  gives  it  a  soft,  lacy  effect. 
The  ribbons  which  loop  the  curtains  at  either  side  should  be  of 
the  prevailing  colors  of  the  room.  If  the  furniture  is  white  and 
gold,  they  should  be  yellow. 

The  hoop  can  hang  from  a  brass  chain  fastened  to  a  hook 
in  the  ceiling. 

The  bureau  belonging  to  this  style  of  furniture  is  too  clumsy 
for  our  use,  although  without  the  mirror  it  will  be  convenient 
as  a  chest  of  drawers.  Brass  handles  in  place  of  knobs  will  im- 
prove it. 

A  Dressing-table 

to  take  its  place,  like  the  one  shown  in  Fig.  370,  can  be  made 
of  a  small  kitchen-table.  The  mirror  suspended  over  it  should 
have  a  broad  flat  frame  of  white  pine,  varnished  or  painted  to 
match  the  furniture.  Almost  any  cabinet-maker  can  frame  a 
mirror  in  this  way.  Bracket  candlesticks  made  of  brass,  which 


Furniture  Old  and  New. 


445 


are  very  inexpensive,  should  be  fastened  to  the  frame  on  either 
side  of  the  glass  with  brass  nails  or  brass-headed  tacks. 


Fig.  370.— What  can  be  done  with  Common  Unpainted  Furniture. 

With  a  brass  handle  on  the  drawer,   a  pretty  scarf  of  linen 
crash,  ornamented  with  drawn  work  or  outline,  thrown  over  the 


446 


Winter. 


table  and  hanging  down  at  each  end,  and  the  addition  of  pin- 
cushion and  toilet  articles,  this  toilet-table  looks  very  attrac- 
tive and  readily  chal- 
lenges admiration. 

Washstand. 

A  piece  of  white  mat- 
ting bound  at  top  and 
bottom,  with  yellow  cot- 
ton cloth  for  a  splasher, 
as  in  Fig.  371,  and  a 
pretty  scarf  and  toilet- 
set,  presents  this  most 
ordinary  washstand  in  a 
new  light. 

Three  common  kitch- 
en-chairs and  one  rocker, 
when  painted  white  or 
varnished,  as  the  case 
may  be,  and  cushioned 
in  pretty  light-colored 
cretonne,  completes  this 
novel,  pretty,  and  re- 
markably inexpensive  set 
of  furniture. 

The  curtains  next  to 
the  windows  should  be  of  the  same  material  as  that  used  for 
the  bed-drapery,  with  the  inner  one  of  cretonne  like  the  chair- 
cushions. 

White  matting  is  suitable  for  the  floor  in  summer,  and  dur- 
ing the  cold  weather  it  can  be  mostly  covered  with  a  pretty 
ingrain  rug  or  art  square,  as  it  is  called. 


Fig.  371.— The   Ordinary  Unpainted  Washstand  in  a 
New  Light. 


Furniture  Old  and  New. 


447 


Instead  of  using  gilt,  the  rings  and  bands  on  the  furniture 
may  be  blue  or  red,  in  which  case  the  trimmings  of  the  room 
should  correspond. 


Fig.  372.— Hall  Seat  Made  of  a  Common  Wooden  Bench, 

A  Hall  Seat. 

As  another  illustration  of  what  can  be  done  with  the  most 
ordinary  piece  of  furniture,  we  have  chosen  a  common  wooden 
bench,  and  by  painting  it  black  and  giving  it  a  dark-red  cushion 
with  tassels  at  each  corner,  have  transformed  it  into  quite  an 
elegant  hall-seat.  Fig.  372  gives  the  effect. 


Winter. 


Fig.  373. — Window  Seat  and  Book-shelves  Combined,  Made  of  Boxes. 

ig-  373  shows  a 

Window  Seat  and  Book-shelves  Combined, 

made  of  boxes.    Eight  soap-boxes  of  the  same  size  are  required 
for  the  shelves,  and  a  packing-box  about  two  feet  high,  two 


Furniture  Old  and  New.  449 

feet    in   width,   and   as   long  as   the  window  is  wide,   for  the 
seat. 

Remove  the  tops  and  two  sides  of  the  soap-boxes,  and  bore 
holes  with  a  red-hot  poker  in  one  corner  of  the  bottoms  of  six 
of  the  boxes,  and  in  two  of  the  tops  which  have  been  removed, 
making  the  holes  one  inch  from  either  edge  (Fig.  374).  In 
the  other  two  boxes  bore  in  the  same  place,  but  not  entirely 
through,  making  the  holes  about  half  an  inch  deep. 

Place  these  last  two  on  the  floor  and  pile  the  others  on  top 
of  them,  three  on  each,  nailing  the 
bottom  of  each  box  to  the  top  edge 
of  the  one  beneath  it.  On  the  two 
upper  boxes  nail  the  tops  in  which 
the  holes  have  been  made. 

Have  ready  two  slender  bamboo 
rods  about  four  feet  long.  Insert  a 
rod  in  the  hole  in  the  top  of  an 


Upper     box      and      let      it     paSS     down,      FiS-  374.— Hole  in  Corner  of  Box 
...  ,  .  for  Book-shelves. 

slipping  it  through  the  holes  in  the 

bottoms  of  the  other  boxes  and  fitting  it  in  the  cavity  in  the 

lower  box. 

In  like  manner  put  the  other  rod  in  place  through  the  other 
pile  of  boxes. 

If  the  packing-box  has  a  cover,  it  should  be  fastened  on 
with  hinges,  so  that  it  may  be  used  for  a  shoe-box  as  well  as  a 
seat ;  if  it  has  not,  turn  it  upside  down,  place  the  soap-boxes  at 
each  end  and  nail  them  to  it. 

Paint  the  shelves  black  or  the  color  of  the  wood-work  in  the 
room,  and  upholster  the  seat  and  the  boxes  on  either  side  of  it 
with  cushions  made  of  strong  muslin  stuffed  with  excelsior  and 
covered  with  cretonne. 

Fasten   the   edges   of  the  side  cushions  to  the  boxes  with 
gimp  braid  and  tacks.     Make  a  deep   platting  of  the  cretonne 
29 


450 


Winter. 


and  tack  it  across  the  front  of  the  large  box.  When  there  is  a 
lid  a  narrow  plaiting  must  be  tacked  across  its  front  edge,  which 
will,  when  the  box  is  closed,  lap  over  the  top  of  the  deeper 
plaiting. 

That  this  combination  of  window-seat  and  shelves  is  both 
comfortable  and  convenient,  one  may  easily  imagine,  and  that 
it  adds  not  a  little  to  the  furnishing  of  a  room,  we  leave  to 
our  illustration  to  show. 


CHAPTER   XL. 

SOMETHING    ABOUT     MANTEL-PIECES    AND 
FIRE-PLACES. 

HE  spirit  of  hospitality  and  comfort  pre- 
sides over  the  ruddy  blaze  of  an  open 
fire ;  yet,  as  we  gather  cosily  around  and 
bask  in  the  delightful  warmth  and  radi- 
ance, its  cheerful  influence  is  too  often 
retarded  by  its  very  unattractive  sur- 
roundings. This  lovely  household  spirit 
should  have  a  more  fitting  habitation  than 
the  one  frequently  accorded  it.  The  fire-place  should  at  least 
be  pleasant  to  look  upon,  and  not  depend  wholly  upon  the 
bright  fire  to  make  it  inviting. 

The  ordinary  marble  and  marbleized  slate  or  iron  mantel- 
pieces are  the  reverse  of  beautiful,  but  they  may  be  very  much 
improved  at  the  expense  of  a  small  outlay  of  money,  time,  and 
trouble. 

The  examples  we  give  here  of  the  treatment  of  common- 
place mantel-pieces  are  simple,  and  can  easily  be  managed  by 
the  girls  themselves,  with  but  trifling  aid  from  a  carpenter. 

In  a  room  occupied  at  one  time  by  a  young  friend  of  the 
writer,  there  was  an  old-fashioned  white-pine  mantel-piece. 
It  was  stiff  and  plain,  with  no  attempt  at  ornamentation,  and 
the  border  of  white  marble,  about  five  inches  wide  around  the 
fire-place,  was  apparently  inserted  to  protect  the  wood  from 


452 


Winter. 


Ifw 


Fig.  375.— Shelves  over  Mantel-Piece. 


Mantel-Pieces  and  Fire-Places.  453 

the  heat  of  the  fire,  and  not  for  beauty.  A  hint  from  the 
writer  was  sufficient  to  set  this  girl's  brain  and  fingers  to  work. 
Soon  the  white-marble  border  was  transformed  into  a  row  of 
blue  and  white  tiles,  which  were  not  only  pretty  and  appropri- 
ate, but  were  also  the  means  of  dispelling  the  impressions  of 
coldness  and  hardness  the  marble  gave. 

The  manner  of  effecting  this  transformation  was  simple 
enough.  First  the  marble  was  divided  into  squares,  the  lines 
being  painted  black  ;  then  conventional  patterns  were  sketched 
with  a  pencil  on  the  squares  and  painted  in  blue,  oil-paints 
being  used  for  the  purpose. 

How  the  mantel-piece  was  otherwise  reformed,  the  writer 
never  saw,  but  it  might  have  been  greatly  improved  and  altered 
by  the  addition  of  shelves  above,  or  a  suitable  lambrequin  upon 
the  mantel-shelf.  However  that  may  or  might  have  been,  the 
tiles  were  a  successful  bit  of  work,  and  the  painting  of  them 
within  the  capabilities  of  almost  anyone.  Then  why  should  we 
long  in  vain  for  a  tiled  mantel-piece,  when  we  have  it  in  our 
power  to  gratify  the  wish  ? 

On  a  plain  white-marble  mantel  a  border  around  the  fire- 
place may  be  marked  out,  and  a  set  of  tiles  painted,  which  will 
look  just  as  pretty  as  any  that  can  be  bought. 

If  the  rest  of  the  marble  is  painted  black  or  brown,  the  tiles 
will  look  as  though  they  were  set  in,  and  the  contrast  will  make 
them  more  effective. 

Fig.  375  illustrates  our  suggestion  of  putting  shelves  over 
the  mantel-piece.  The  braces  can  be  bought  at  any  hardware- 
store,  and  the  shelves  may  be  of  black-walnut  or  pine  boards, 
stained  or  painted  to  match  the  mantel-piece. 

Fig.  376  shows  the  effect  of  a  mantel-shelf  covered  with  en- 
amel-cloth made  in  imitation  of  leather.  The  color  of  the  mate- 
rial used  for  the  one  from  which  our  sketch  is  taken  is  dark  red, 
and  has  a  dull,  soft  finish  like  Russian  leather.  It  is  ornamented 


454 


Winter. 


with  small  brass  curtain-rings  sewed  on  in  points  or  pyramids ; 
a  strip  of  enamel-cloth  is  also  put  behind  the  shelf,  and  at  the 
top  edge  a  piece  of  narrow  gilt  moulding  is  tacked. 


Fig.  376. — Mantel-Shelf  covered  with  Enamel-Cloth  ornamented  with  Brass  Curtain-Rings. 

A  mantel-board  of  pine,  two  inches  longer  and  two  inches 
wider  than  the  shelf,  is  always  necessary  when  there  is  to  be  a 
lambrequin,  for  upon  this  the  lambrequin  is  tacked. 


Mantel-Pieces  and  Fire-Places. 


455 


First,  the  board  must  be  neatly  covered  with  the  material, 
enamel-cloth  or  whatever  is  used,  the  edges  of  the  cloth  being 
brought  over  and  tacked  under  the  edge  of  the  shelf;  then  the 
strip  composing  the  lambrequin  must  be  turned  in  at  the  top 
edge  and  tacked  across  the  front  and  two  ends  of  the  board 
with  brass-headed  tacks.  It  looks  better  if  the  corners  of  the 

board  are  rounded  as 
shown  in  illustration. 
The  piece  at  the 
back  of  the  shelf 
should  be  about 
eighteen  inches  deep 
and  must  be  tacked 
at  top  and  bottom 
with  small  tacks,  the 
edge  at  each  end 
being  turned  in  and 
tacked  to  the  wall 
with  brass-headed 
tacks. 

Fig.  377  is  the 
diagram  of  enamel- 
cloth  ornamented  with  brass  rings,  and  shows  a  section  of  the 
pattern.  The  bottom  row  of  rings  should  be  sewed  on  first, 
and  the  edge  of  the  cloth  turned  up  as  the  rings  are  fastened 
on.  The  stitches  which  hold  the  rings  catch  the  hem  also. 
This  first  row  of  rings  should  extend  half  way  below  the  edge 
of  the  cloth,  as  shown  in  Fig.  377.  Strong  yellow  embroidery- 
silk  or  saddlers'  silk  is  the  best  to  sew  them  on  with. 

The  gilt  moulding  can  be  bought  by  the  foot  and  small 
headless  nails  are  furnished  to  tack  it  with. 

Another  mantel  is  treated  in  very  much  the  same  manner 
as  Fig.  376,  the  difference  being  that,  instead  of  enamel-cloth, 


Fig.    377. — Enamel- Cloth  ornamented  with  Brass  Rings. 


456 


Winter. 


the  covering  for  the  shelf  and  the  piece  at  the  back  are  dark-red 
canton- flannel,  and  around  the  edge  of  the  shelf  is  tacked  a 
worsted  fringe,  about  six  inches  deep,  matching  the  canton- 
flannel  in  color.  This  has  a  warm,  comfortable  look  and  is  quite 


Fig.  378.— Shelves  around  Projecting  Chimnej. 

appropriate  for  a  bedroom,  while  the  other  should  be  used  only 
in  a  library  or  dining-room. 

The  writer  was  once  invited  into  a  young  girl's  room  which 
was  very  attractive  in  its  daintiness.  It  was  not  pretty  in  shape, 
and  an  uncompromising  chimney,  in  which  there  was  no  fire- 


Mantel-Pieces  and  Fire-Places. 


457 


place,  projected  into  the  room  ;  but  taste  had  overcome  these 
difficulties,  and  the  effect  produced  was  decidedly  pleasing. 

Pretty  wall-paper  and  the  arrangement  of  the  furniture  helped 
very  much,  but  the  greatest  triumph  was  in  subduing  the  awk- 
wardness of  that  chimney  by  surrounding  it  with  a  set  of  shelves 
for  holding  pretty  bits  of  bric-a-brac. 

In  case  another  girl  may  have  the  same  difficulty  to  sur- 
mount in  decorating  her  room,  we  give  an  outline  drawing  of 
the  shelves  (Fig.  378)  that  she  may  see  and  profit  thereby. 


CHAPTER   XLL 
HOME-MADE    CANDY, 

E  have  noticed  that  in  none  of  the 
books  we  have  seen,  which  were  writ- 
ten especially  for  the  amusement  and 
entertainment  of  girls,  has  there  been 
any  directions  or  recipes  for  making 
candy.  Knowing  by  experience  that 
most  girls  consider  candy-making  one 
of  their  prime  winter  enjoyments,  we 
consider  the  omission  to  be  quite  an  important  one,  and  we 
will  in  this  chapter  endeavor  to  supply  the  much-wished-for  in- 
formation. 

Though  cooking  in  general  may  not  be  regarded  with  much 
favor  by  the  average  school-girl,  she  is  always  anxious  to  learn 
how  to  make  candy,  and  hails  a  new  recipe  as  a  boon. 

The  following  recipes  for  peanut-candy,  butter-scotch,  and 
molasses-candy  were  obtained  from  a  friend  who  makes  the 
best  home-made  candy  it  has  ever  been  our  good-fortune  to 
taste,  and  as  she  recommends  them,  we  may  rely  upon  their 
being  excellent.  We  give  them,  with  her  comments,  just  as  she 
wrote  them. 

Delicious  Peanut-Candy. 

Shell  your  peanuts  and  chop  them  fine  ;  measure  them  in  a  cup,  and 
take  just  the  same  quantity  of  granulated  sugar  as  you  have  peanuts.  Put 
the  sugar  in  a  skillet,  or  spider,  on  the  fire,  and  keep  moving  the  skillet 


Home-made  Candy.  459 

around  until  the  sugar  is  dissolved  ;  then  put  in  the  peanuts  and  pour  into 
buttered  tins. 

This  is  delicious,  and  so  quickly  made. 

Butter- Scotch. 

2  cups  of  brown  sugar. 

\  cup  of  butter. 

4  tablespoonfuls  of -molasses. 

2  tablespoonfuls  of  water. 

2  tablespoonfuls  of  vinegar. 

Boil  until  it  hardens  when  dropped  into  cold  water,  then  pour  into  but 
tered  tins. 

Molasses-Candy. 

2  cups  of  brown  sugar. 

\  cup  of  New  Orleans  molasses. 

£  cup  of  vinegar  and  water  mixed. 

A  piece  of  butter  half  the  size  of  an  egg. 

When  the  candy  hardens  in  cold  water,  pour  into  shallow  buttered  tins, 
and  as  soon  as  it  is  cool  enough  to  handle,  pull  it  until  it  is  of  a  straw-color. 
Splendid! 

Here  are  two  recipes  which  another  friend  has  kindly  sent 
us  : 

Chocolate-  Creams. 

To  the  white  of  I  egg  add  an  equal  quantity  of  cold  water.  Stir  in  I 
pound  of  confectioner's  sugar.  Flavor  with  vanilla.  Stir  until  fine  and 
smooth  ;  then  mould  into  balls  and  drop  into  melted  chocolate. 

To  melt  the  chocolate,  scrape  and  put  it  in  a  tin-cup  or  small 
sauce-pan  over  a  kettle  where  it  will  steam.  Let  the  chocolate 
be  melting  while  the  cream  is  being  prepared. 

Walnut-Creams. 

Make  the  cream  as  for  chocolate-drops  and  mould  into  larger  balls. 
Place  the  half  of  an  English  walnut  on  either  side  and  press  them  into  the 
cream. 


460  Winter. 


The  cream  prepared  in  this  way,  we  have  found,  can  be  used 
for  various  kinds  of  candy. 

Small  pieces  of  fruit  of  any  kind  and  nuts  can  be  enclosed  in 
the  cream,  making  a  great  variety.  Chocolate  may  be  mixed 
with  it ;  and  if  strong,  clear  coffee  is  used  in  place  of  the  water, 
the  candy  will  have  the  coffee  flavor  and  color  which  some 
people  like. 

Walnut  and  Fruit  Glac6. 

Put  I  cup  of  sugar  and  y2  cup  of  water  in  a  sauce-pan  and 
stir  until  the  sugar  is  all  dissolved  ;  then  place  it  over  the  fire 
and  let  it  boil  until  it  hardens  and  is  quite  crisp  when  dropped 
in  cold  water.  Do  not  stir  it  after  it  is  put  on  the  fire. 

When  cooked  sufficiently,  dip  out  a  spoonful  at  a  time  and 
drop  in  buttered  tins,  leaving  a  space  of  an  inch  or  so  between 
each  spoonful.  Place  on  each  piece  of  candy  the  half  of  a  wal- 
nut, or  the  fruit  which  has  previously  been  prepared,  and  pour 
over  them  enough  candy  to  cover  them,  always  keeping  each 
piece  separate. 

Any  kind  of  fruit  can  be  made  into  glace.  When  using 
oranges,  quarter  them  and  remove  the  seeds.  Strawberries,  in 
their  season,  and  peaches  also  make  delicious  glace. 

The  remainder  of  our  recipes  have  been  taken  from  family 
recipe-books,  and  although  we  have  not  tested  them  ourselves, 
we  think  it  may  be  safely  said  that  they  are  good  ones. 

Marsh-mallow  Paste. 

Dissolve  I  pound  of  clean  white  gum-arabic  in  one  quart 
of  water  ;  strain,  add  I  pound  of  refined  sugar,  and  place  over 
the  fire.  Stir  continually  until  the  syrup  is  dissolved  and  the 
mixture  has  become  of  the  consistency  of  honey.  Next  add 
gradually  the  beaten  whites  of  8  eggs ;  stir  the  mixture  all 


Home-made  Candy.  461 

the  time  until  it  loses  its  thickness  and  does  not  adhere  to  the 
finger.  Flavor  with  vanilla  or  rose.  Pour  into  a  tin  slightly 
dusted  with  powdered  starch,  and  when  cool  divide  into  squares 
with  a  sharp  knife. 

Toasted  Marsh-mallows. 

Tie  a  string  on  the  end  of  a  cane  or  stick,  fasten  a  bent  pin 
on  the  end  of  the  string,  and  stick  the  pin  into  a  marsh-mallow- 
drop.  Hold  the  marsh-mallow  suspended  over  an  open  fire  and 
let  it  gradually  toast.  When  it  begins  to  rnelt  and  run  down  it 
is  done. 

For  a  small  party  toasting  marsh-mallows  will  be  found  quite 
a  merry  pastime,  and  a  great  many  persons  consider  the  candy 
much  better  for  being  thus  cooked  the  second  time. 

Molasses  Peanut-Candy. 

2  cups  of  molasses. 
I  cup  of  brown  sugar. 
I  tablespoonful  of  butter. 

1  tablespoonful  of  vinegar. 

While  the  candy  is  boiling  remove  the  shells  and  brown 
skins  from  the  peanuts,  lay  the  nuts  in  buttered  pans,  and  when 
the  candy  is  done  pour  it  over  them.  While  it  is  still  warm  cut 
in  blocks. 

Chocolate-Caramels. 

2  cups  of  sugar. 

I  cup  of  molasses. 

I  cup  of  milk. 

I  tablespoonful  of  butter. 

I  tablespoonful  of  flour. 

y2  pound  of  Baker's  chocolate. 

Grease  your  pot,  put  in  sugar,  molasses,  and  milk ;  boil  fif- 


462 


Winter. 


teen  minutes,  and  add  butter  and  flour  stirred  to  a  cream.  Let 
it  boil  five  minutes,  then  add  the  chocolate,  grated,  and  boil  un- 
til quite  thick.  Grease  shallow  pans  and  pour  in  the  candy 
half  an  inch  thick,  marking  it  in  squares  before  it  becomes 
hard. 

Pop-Corn  Balls. 

6  quarts  of  popped  corn. 

I  pint  of  molasses. 

Boil  the  molasses  about  fifteen  minutes  ;  then  put  the  corn 
into  a  large  pan,  pour  the  molasses  over  it,  and  stir  briskly  un- 
til thoroughly  mixed.  Then,  with  clean  hands,  make  into  balls 
of  the  desired  size. 


Saint  Valentine. 


CHAPTER   XLIL 
Saint  Valentine's  Day. 

ID  it  never  occur  to  any  of  you  to  wonder  who 
Saint  Valentine  was,  and  why  we  should 
commemorate  his  day  by  sending  cards  or 
letters  containing  all  sorts  of  nonsense,  like 
true-lovers'  knots,  hearts  pierced  with  ar- 
rows, etc.  ? 

It  is  easy  enough  to  tell  you  about  the 
saint,  but  what  he  had  to  do  with  the  popu- 
lar observances  of  the  day  dedicated  to  him  is   a  matter  for 
conjecture. 

Saint  Valentine,  they  say,  was  a  grave  and  earnest  bishop, 
who  was  put  to  death  in  Rome  on  the  fourteenth  day  of  Feb- 
ruary, about  the  year  270  A.D.,  for  his  too  zealous  efforts  in 
converting  the  heathen.  When  he  was  canonized,  the  day  of 
the  month  on  which  he  died  was  dedicated  to  him. 

The   customs  of  Saint  Valentine's  Day  are,  no  doubt,  de 
rived  from  those  practised  at  some  of  the  Pagan  festivals,  for 
they  are  of  very  ancient  origin.     In  olden  times,  in  England,  it 
was  kept  as  a  great  gala  day,  and  all  the  houses  were  decked 
with  evergreen  in  honor  of  it.     Ben  Jonson  says : 

"  Get  some  fresh  hay,  then,  to  lay  under  foot, 
Some  holly  and  ivy  to  make  fine  the  posts  ; 
Is't  not  Saint  Valentine's  Day  ?  " 


Saint  Valentines  Day.  465 


The  principal  feature  of  the  ceremonies  was  always  the 
choice  of  a  valentine  for  the  ensuing  year.  The  cavalier  was 
expected  to  wait  upon  his  lady,  execute  all  of  her  commands, 
and  act  as  her  escort  at  all  social  gatherings. 

The  choice  of  a  valentine  was  generally  left  to  chance, 
one  of  the  methods  being  that  the  first  unmarried  member  of 
the  opposite  sex  a  person  saw  on  Saint  Valentine's  morning 
should  be  his  or  her  valentine. 

Of  course  you  have  all  had  some  experience  in  sending  and 
receiving  valentines,  and  perhaps  consider  that  the  only  way  of 
celebrating  the  day  ;  but  don't  you  think  it  would  be  a  good 
idea  to  invite  some  friends  to  your  house  and  have  a 

Valentine-Party  ? 

We  will  give  several  suggestions  upon  what  to  do  at  a  valen- 
tine-party, that  you  may  have  some  idea  how  the  affair  should 
be  conducted. 

In  the  first  place,  let  each  guest,  upon  his  or  her  arrival,  de- 
posit a  valentine  in  a  large  bag  placed  in  the  hall  for  that  pur- 
pose. The  valentines  must  be  addressed  to  no  particular  per- 
son, but  the  girls  should  write  on  theirs,  "  To  my  cavalier," 
and  the  boys  address  the  ones  they  send,  "To  my  lady."  On 
one  corner  of  each  valentine  (not  the  envelope)  the  sender's 
name  must  be  written. 

When  all  the  guests  have  assembled,  someone  disguised  as 
Saint  Valentine,  in  a  skull-cap,  long  white  beard,  made  of  cotton 
or  wool,  and  long  cloak,  should  enter  the  parlor,  carrying  on  his 
back  the  sack  of  valentines.  He  must  stand  in  the  centre  of 
the  room  and  auction  off  each  valentine  as  he  takes  it  from  hif 
pack. 

All  sorts  of  bids  can  be  made,  such  as  the  promise  of  a  dance, 
a  necktie,  her  share  of  ice-cream  at  supper,  by  a  girl.  A  com- 
30 


466  Winter. 


pliment,  the  first  favor  asked  of  him,  a  paper  of  bonbons,  by  a 
boy.  To  make  fun  the  bids  should  be  as  ridiculous  as  possible. 
Saint  Valentine  is  to  be  at  lib- 
erty to  accept  whatever  bid  he 
chooses.  The  payment  of  the 
debt  must  be  rigidly  exacted 
by  the  sender  of  a  valentine, 
whose  identity  is  revealed  when 
the  valentine  is  opened. 

If  unable  to  comply  immedi-         Fis-  379.-cupid'S  BOW  and  Arrow, 
ately  with  the  demand,  the  debtor  must  give  the  creditor  a  card 
or  slip  of  paper  on  which  is  written  "  I  O  U  a  favor,"  or  what- 
ever it  may  be  that  is  owed.     This  I  O  U  entitles  the  creditor 
to  claim  payment  of  the  debt  at  any  time  during  the  year. 

Another  feature  of  the  patty  should  be  Cupid's  bow  and  ar- 
row, which  must  be  suspended  from  the  chandelier  or  placed 
in  some  prominent  position.  The  device  is  to  be  used  for  de- 
livering such  valentines  as  may  be  addressed  to  particular  per- 
sons. The  valentine  must  be  stuck  onto  the 
point  of  the  arrow,  and  no  one  may  remove  it 
save  the  person  to  whom  it  is  addressed.  At 
any  time  during  the  evening  the  arrow  may  be 
found  to  bear  a  missive,  and  we  would  advise 
the  hostess  to  provide  a  valentine,  to  be  delivered 
in  this  way,  for  each  of  her  guests,  that  none  may 
feel  neglected.  The  rest  of  the  party  can,  to  be 
sure,  send  as  many  valentines  as  they  like. 

Make  Cupid's  bow  and  arrow  of  heavy  paste- 
board, like  Fig.  379.    Let  the  bow  measure  about 
Fig.  sso. -Notch  in   sixteen  inches  from   tip  to  tip.     Make  the  arrow 
Feather.     twejve  jnches  long,  with  a  point  or  head  three 
inches,  and  the  feathers  two  inches,  in  length  on  the  outside 
«dge.      Cut  a  notch  in  the  feathered  end,  as  shown  in  Fig.  380, 


Saint  Valentine's  Day. 


467 


Fig.  381.— Man- 
ner of  fasten- 
ing Needle  in 
Arrow-head. 


Strengthen  the  arrow  by  gluing  a  thin  stick  of  wood  along 
it  to  within  one  inch  of  the  point.  Gild  both  the  bow  and  ar- 
row, tie  a  silk  cord  to  the  tips  of  the  bow,  leaving 
it  slack,  and  force  the  head  of  a  worsted-needle 
into  the  point  of  the  arrow  (Fig.  381).  Adjust 
the  arrow  by  fitting  the  cord  in  the  notch  and 
pulling  it  back  until  the  cord  is  taut ;  then  fasten 
it  to  the  bow  by  taking  a  few  stitches  with  yellow 
silk  through  the  bow  and  over  the  arrow.  Fig. 
382  shows  how  it  should  appear  when  in  place. 

To  determine  how  the  guests  shall  be  paired 
off  for  supper,  place  the  names  of  all  the  girls, 
written  on  slips  of  paper,  in  a  bag  ;  then  let  each 
boy  in  turn  take  out  a  slip,  and  the  girl  whose 
name  it  bears  he  shall  escort  to  the  supper-room 
and  serve  like  a  true  cavalier. 

At  a  valentine-party  the  valentines  should,  if 
possible,  all  be  original,  or  at  least  contain  appropriate  quota- 
tions. The  more  absurd  the  rhyme,  the  more  fun  it  will  cre- 
ate, and  when  one  is  unable  to  make  a  rhyme  a  bit  of  prose 
can  be  made  to  serve.  As 
funny  as  you  please  let  the  val- 
entines be,  but  remember  to 
omit  anything  that  is  in  the 
least  rude,  or  calculated  to  hurt 
another's  feelings. 

With  Saint  Valentine's  Day 
ends  our  vacation-calendar  and 
with  it  we  also  bring  this  book 
to  a  close,  for  a  whole  year  of 
holidays,  sports,  and  entertainments  are  now  contained  within 
its  covers.  If  we  may  hope  that  our  work  has  not  been  with- 


Fig.  382.— Cupid's  Bow  with  Arrow  in 
Position. 


468 


Winter. 


out  profit,  as  well  as  entertainment,  if  we  have  been  successful 
in  opening  any  new  avenues  of  enterprise  and  enjoyment  for 
you,  we  are  satisfied.  If  we  have  done  more,  and  with  any  of 
our  suggestions  have  prompted  the  thought  of  adding  to  the 
comfort  and  happiness  of  others,  we  have  achieved  a  success> 
and  the  mission  of  the  AMERICAN  GIRL'S  HANDY  BOOK  is 
accomplished. 


INDEX. 


Album,  an,  400 

All-Hallow-Eve  ;  see  Halloween 
Applique  designs,  391 
April,  first  of,  3  ;  April-fool's  Day  party, 
5  ;  games,  6  et  seq. 


Back-stitching,  383 

Ball,  soft,  327 

Balls,  lawn-tennis,  69 

Basket,  May,  74  ;  birch-bark,  ib. ;  card- 
board, ib.;  crab-net,  97 

Basting,  382 

Bedstead,  /\/\<\ 

Beech-nuts,  220 

Biographical  nonsense,  339 

Bladder  telephone,  227 

Blind,  taught  modelling,  257 

Blind-man's  singing-school,  155 

Blind-man's  stocking,  321 

Bombs,  115 

Bonbon  box,  49 

Bookcase,  439 

Book-covers,  home-made,  401 

Book-mark,  324 

Book-shelves,  marine,  94 

Booths  at  a  fair,  413;  tables  for,  ib. ; 
flowers  for,  417  ;  arrangement  of,  420 


Botany  as  applied  to  art,  139  ;  conven- 
tionalizing plant  forms,  ib. ;  the  peony- 
leaf,  140  ;  a  bunch  of  turnips,  142  ; 
decorative  lines,  143  ;  cross-section 
plant  designs,  144  ;  flower-sprays,  146  ; 
changing  color  and  form,  147  ;  burs, 
ib. ;  water-lily  conventionalized,  148 ; 
fern-leaf,  85 

Bouquets,  to  preserve  fresh,  25 

Brackets,  214 

Bradford,  Governor  William,  302 

Bran  pie,  321 

Brushes  for  oil-colors,  250 ;  for  chin* 
painting,  270 

Bubble-blowing,  335 

Buckeye  Portiere,  204 

"Bunching  eggs,"  37 

Burgoos,  132 

Butter-Scotch,  459 

Butternuts,  220 

Button,  how  to  sew  on  a,  386 

Button-holes,  383 

Bureau  transformed  into  a  bookcase.  441 


Candlestick,  marine,  103 
Candy,  home-made,  458 
Canvas  for  painting,  251 
Cards,  Easter,  50 
Cards,  living  Christmas,  342 


470 


Index. 


Chair,  441 ;  how  to  reseat,  442 

Chestnuts,  218 

China  -  painting,  272  ;  materials,  273  ; 
China,  278 ;  monochrome  painting, 
ib.  ;  tinting,  273  ;  new  method  of  dec- 
orating china,  279 ;  tracing,  280 ;  mot- 
tled ground,  281 ;  snow  landscape,  ib.  ; 
head-painting,  284 ;  sea-weed,  fish,  etc., 
287  ;  mixing  colors,  289 ;  painting  royal 
Worcester  ware,  290 

Chocolate-caramels,  461 

Chocolate-creams,  459 

Christmas  festivities,  317  ;  customs,  318 

Clay,  for  modelling,  259 ;  how  to  man- 
age, 261  ;  how  to  preserve,  262 

Clover,  four-leaved,  23 

Color  painting,  241,  244,  246 

Conventionalized  plant  forms,  141 

Court,  for  lawn-tennis,  62 

Cross-section  plant  designs,  144 

Crystallizing  flowers,  21 

Curtain  fixtures,  marine,  92 


D 


Dancers,  fairy,  330 

Darning  and  mending,  384 

Declaration  of  Independence,  117 

Decoration,  seaside  cottage,  92 

Decorations,  natural,  201 ;  of  autumn 
wild  flowers,  202 ;  buckeye  portiere, 
204 ;  of  horse-chestnuts,  ib.  ;  of  corn, 
209  ;  ornamental  gourds,  210 

Decorative  language,  365  ;  how  to  make 
a  design  in,  371 

Dolls,  corn-husk,  169  ;  with  crab-apple 
heads,  173  ;  flower,  175 

Drapery  of  small  scraps,  431 

Draw,  how  to,  229 

Drawing  plant  forms,  141 


Drawn  work,  389 
Dressing-table,  /|/| 


Easel,  250 

Easter,  33  ;  how  celebrated  in  England, 
ib.  ;  in  Russia,  ib.  ;  in  Ireland,  34 ;  in 
Germany,  35  ;  in  Washington,  D.  C, 
ib. 

Easter  cards,  50 

Easter  eggs,  33  ;  games  with,  36 ;  dolls 
made  of,  39 ;  toys  formed  of,  42  j 
maple  wax  eggs,  49  ;  bonbon  box,  ib. 

Enchanted  girl,  pantomime  of,  348 

Exercising,  best  time  for,  353 ;  balancing 
weights  on  the  head,  356  ;  broom-han- 
dle exercise,  357 


Fairy  dancers,  330 

Fan,  how  to  make  a,  177;  butterfly  fan, 
178;  Mikado  fan,  180;  daisy  fan,  182; 
card-board  fan,  183 

Felling,  383 

Ferns  for  decoration,  19 

Fid,  57,  161 

Five  minutes'  conversation,  154 

Fish-painting  on  china,  286 

Floral  vocabulary,  377 

Flowers,  wild,  14 ;  transplanting,  ib.  j 
how  to  keep  cut,  15  ;  sending  by  mail, 
16 ;  preserving,  in  sand,  16;  pressed, 
18  ;  herbariums  of,  19  ;  for  decoration, 
ib. ;  color  of,  changed,  ib. ;  waxed,  20  ; 
to  freshen  cut,  ib. ;  crystallized,  21  ; 
frosted,  ib.  ;  perfume  of,  preserved, 
ib.  ;  spring  flowers  in  winter,  23  ;  pre- 
serving, in  alcohol,  24 ;  in  an  empty 
bottle,  ib.;  under  glass,  ib.  ;  to  keep 


Index. 


bouquets  fresh,  25  ;  to  keep  flowers  or 
fruit  fresh  for  a  year,  ib. ;  painting,  in 
water-colors,  239 

Fortune-telling,  by  melted  lead,  190  ;  by 
nutshell  boats,  192;  by  "three  lug- 
gies,"  193;  by  roasting  nuts,  ib.  ; 
Kaling,  194 ;  by  the  magic  mirror,  ib. ; 
by  three  tin  cups,  by  the  ring  cake, 

195 

Fortune's  wheel,  88,  426 

"Fore-shortening,"  231 

Fourth  of  July,  celebration,  interior  dec- 
oration for,  107  ;  indoor  illumination, 
108 ;  outdoor  decoration  and  illumina- 
tion, 109 ;  fireworks  for  girls,  in; 
parachute,  112  ;  thunderbolts,  ib.  ; 
whirls,  113  ;  winged  fancies,  ib.  ;  pin- 
wheels,  114;  bombs,  115;  lawn  party, 
117  ;  declaration  of  independence,  ib.  ; 
game  of  toss,  118 ;  jackstraws,  119 ; 
progressive  mining,  ib. 

Frames  for  pictures,  295  ;  designs  for, 
296  ;  decorated,  297  ;  cork  frame,  299 

Furniture,  old  and  new,  438 


G 


Game  of  headless  turkey,  312 

Game  and  fish  stew,  133 

Games,  quiet,  for  hot  weather,  151 ;  door- 
step party,  152  ;  five  minutes'  conversa- 
tion, 153  ;  blind-man's  singing-school, 
155  ;  game  of  noted  men,  ib.  ;  what 
will  you  take  to  the  picnic?  156;  as- 
sumed characters,  157  ;  shadow  verbs, 
ib.  ;  Halloween  games,  196  et  seq. 

Games  for  Christmas  holidays,  bubble- 
bowling,  335  ;  biographical  nonsense, 
339  ;  comic  historical  tableaux,  341  ; 
living  Christmas  cards,  342 


Gathering,  382 

Glass,  stained,  imitated,  435 

Glove  pen-wiper,  323 

Glove,  to  mend  a  kid,  386 

Gold,  mat,  276 ;  pure,  ib. 

Gourds,  ornamental,  210 

Grab -bags,  423 

Ground  glass,  imitatio'n  of,  436 

Gymnasium,  home,  353 

H 

Hall  seat,  447 

Halloween,  187  ;  origin  of,  ib.;  party, 
189  ;  fortune-telling  on,  190  et  seq.; 
games,  196  et  seq. 

Hammock,  how  to  make  a,  159  ;  materi- 
als required,  161  ;  barrel  hammock, 
165 

Hat-rack,  seaside,  98 

Hazel-nuts,  220 

Headless  turkey,  game  of,  312 

Hemming,  381 

Heraldry,  366  ;  field  of,  266  ;  the  points, 
ib. ;  divisions,  267 

Herbariums,  19 

Herring-bone  stitch,  384 

Hickory-nuts,  219 

Historical  tableaux,  341 

Home  gymnasium,  353 

Home-made  candy,  458 

Horseshoe  crab-bag,  IOI 

"  Huli  Fool,"  4 


Impression  album,  how  to  make  an,  123  j 
tools  required,  125  ;  printing  from 
leaves,  126  ;  from  flowers,  127  ;  land- 
scapes, 128  ;  other  uses  for  botanicaJ 
impressions,  129 


472 


Index. 


J 


Jackstraws,  Fourth  of  July,  119 
Julklapp,  319 


K 


Kaling,  194 
Key-rack,  412 


Lace,  393 

Lady  of  the  Lake,  425 

Landscape  painting  in  water-colors,  241 

Language,  a  decorative,  364 

Lantern,  408 

Lawn,  painting  on,  434 

Lawn  party,  117 

Lawn-tennis,   55  ;  lawn-tennis  suits,   56; 

how  to  make   a  lawn-tennis  net,   57  ; 

materials  for,  ib. ;  court,  62  ;  rules  for 

the  game,  63 
Leap-year  party,  351 
Leaves  and  ferns  for  decoration,  19 
Light,  252 

M 

Mailing  parcels,  directions  for,  16 

Mantle-cloth,  454 

Mantle-piece,  451 

Maple-wax  Easter  eggs,  49 

Marsh-mallow  paste,  460  ;  toasted,  461 

Mat  colors,  277 

May  Day,  71 ;  sports,  72  ;  May  baskets, 

74  ;  May-pole,  77  ;  May-pole  dance,  79 
Midsummer  Eve,    83  ;  the  games  of,  85 

et  seq. 

Mirror  tableau,  6 
Mirror,  the,  404 
Model,    arrangement   of,    in   water-color 

painting,  240 
Modelling  in  clay  and  wax,   257  ;  value 

of,  259 ;  much  can  be  learned  without 


a  teacher,  ib. ;  materials,  ib. ;  clay,  260 ; 

general  directions,  261 
Modelling  wax,  263 
Modelling  stand,  260 
Molasses  candy,  459 
Monochrome  painting,  278 
Music-roll,  a,  410 


N 


Nancy,  Miss,  326 

Nature's  types,  125 

Needle,  hammock,  58 ;  161 

Needle-work,  380 

Net,  lawn-tennis,  57 

New  Year's  Day,  347  ;  New  Year's  par 

ties,  348 

Noah's  ark  peep-show,  8 
Nutting  parties,  218  ;  rules  for,  221 


Overhanding,  380 
Oil-cups,  251 

Oils  for  china-painting,  275 
Overcasting,  380 


Paint-box,  251 

Painting  in  water-colors,  238 ;  materials 
for,  ib. ;  flower-painting,  239  ;  model, 
240  ;  landscapes,  241  ;  general  direc- 
tions, 242  ;  painting  from  notes,  244 

Painting  in  oil-colors,  249 ;  material s; 
ib. ;  the  light,  252  ;  setting  the  palette, 

253 

Painting  on  lawn,  434 
Painting  window-panes,  432 
Paints,  for  china-painting,  274 
Palette,  250  ;  setting  the,  253 
Palette-knife,  250  ;  of  horn,  273 


Index. 


473 


Panel  decorations,  205,  209,  270 
Panel  of  field-corn,  209 
Pantomime  of  an  enchanted  girl,  348 
Paper-weight,  412 
Parachute,  1 12 

Party,  First  of  April,  5  ;  Fourth  of  July, 
117;  door-step,  151 ;  Halloween,  189; 
nutting,  218 

Paste,  how  to  make,  402 
Patch,  how  to,  386 
Peanut-candy,  458 
Peanuts,  223 

Perfumes,  to  prepare  from  flowers,  21 
Picnics,    burgoos    and   corn-roasts,    131  ; 
how  to  make  a  burgoo  stew,    133 ;   a 
corn -roast,  134 
Picture-frames,  295 

Pilgrims,  landing  of,  tableau,  305  et  seq. 
Pin-wheels,  114 

Plain   sewing,    380 ;     overhanding,    ib.  ; 
overcasting,  381  ;  hemming,  ib.  ;    run- 
ning, 382  ;  basting,  ib. ;  gathering,  ib. ; 
stitching,  383  ;  back-stitching,  ib. ;  fell- 
ing,  ib. ;     button-holes,    ib.;     herring- 
bone, or  cat's-tooth  stitch,  384 
Plantain  test,  86 
Plaster  casts,   268 ;   to  harden,  270 ;   to 

color,  ib. 

"loisson  d'Avril,"  4 
Pop-corn  balls,  462 
Portieres,  designs  for,  391  ;  buckeye,  204 
Postal  regulations  for  packages,  16 
Progressive  mining,  119 


Hag-balls,  427 
Ribbon  embroideries,  393 
Ribbon  curtain,  430 
Rooster,  a  lively,  327 
Rosewater,  recipe  for,  26 


Rubbish,  what  to  do  with,  403 
Running,  382 

s 

Sachet,  323 

Saint  Valentine's  Day,  464 

Scrap-bag,  324 

Scrap  drapery,  431 

Scrap-book,  395 

Screen,  m?rine,  99 ;  Louis  Quinze,  206 

Settee,  442 

Shells,  how  to  polish,  104 

Shelves  around  chimney,  456 

Siccatif  Courtray,  253 

"Silly  mackerel,"  4 

Spring  flowers  in  winter,  23 
Squirrel,  little  brown,"  218,  221,  222 

Stained  glass,  imitation  of,  435 

Starfish,  candlestick  made  of,  102  ;  orna- 
ments of,  103  ;  how  to  dry,  104 

Stitches,  fancy,  387 

Stitching,  383 


T-square,  234 

Table,  a  bric-a-brac,  406  ;  at  a  fair,  413 

Tableau,  mirror,  6 

Tableaux,  burlesque,  304 ;  historical,  341 

Tar  paste,  275 

Telephone,  how  to  make  a,  224 

Tent,  illuminated,  in 

Thanksgiving,  celebration  of,  302 

Thunderbolts,  112 

Tiles,  painted  on  marble  mantle,  453 

Tin  telephone,  225 

Tints  in  water-color  painting,  242 

Toss,  118 

Tracing,  280 

Transformation  scrap-book,  398 


474 


Index. 


u 

Urchin,  sea,  vase  made  of,  102 

V 

Valentine  party,  465 
Vase,  marine,  102 

w 

Walking  Club,  the,  27;  membership 
of,  30 ;  length  of  walks,  ib. ;  rules  to  be 
observed,  31 

Walnuts,  220 

Walnut  creams,  459  ;  glace,  460 


Walnut-shell  turtle,  325 
Washstand,  446 
Water-colors,  238 
Wax-modelling,  home-made,  263 
Wedding   decorations,   wild   flowers  fo£ 

202 

Whirls,  113 
Wild  flowers,  13 
Window  decorations,  92 
Window-panes,  decoration  of,  432. 
Window-seat,  448 
Winged  fancies,  113 
Work-basket,  crab-net,  97 
Work-basket,  411 
Worcester,  royal,  ware,  290 


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veying information  for  which  many  of  their  elders  will  be  thankful." — The  Nation. 

THE  STORY  OF  SIEGFRIED.    Illustrated  by  HOWARD  PYLE. 
"  The  story  of  '  Siegfried '  is  charmingly  told.    The  author  makes  up  the  story  from 
the  various  myths  in  a  fascinating  way  which  cannot  fail  to  interest.    It  is  as  enjoy- 
able as  any  fairy  tale.  The  writer's  style  is  simple  and  very  attractive,  and  the  book 
is  in  every  way  an  excellent  one  for  young  readers."— Hartford  Courant. 

TWO  JUVENILES  BY  EDWARD  EGGLESTON 

THE  HOOSIER  SCHOOL-BOY.  lamo.  With  full-page  illustrations,  $1.00. 
'"The  Hoosier  School-Boy '  depicts  some  of  the  characteristics  of  boy  life  years 
ago  on  the  Ohio.  The  story  presents  a  vivid  and  interesting  picture  of  the  difficulties 
which  in  those  days  beset  the  path  of  the  youth  aspiring  for  an  education.  These 
obstacles,  which  the  hero  of  the  story  succeeds  by  his  manliness  and  force  of  char- 
acter in  surmounting,  are  just  such  as  a  majority  of  the  most  distinguished  Ameri- 
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have  made  the  stepping-stone  to  their  future  greatness." — Chicago  Inter-Ocean. 

QUEER  STORIES  FOR  BOYS  AND  GIRLS.    i2mo,  $1.00. 

"  A  very  bright  and  attractive  little  volume  for  young  readers.  The  stories  afe 
fresh,  breezy  and  healthy,  with  a  good  point  to  them  and  a  good  sound  American 
view  of  life  and  of  the  road  to  success.  The  book  abounds  in  good  feeling  and  good 
sense  and  is  written  in  a  style  of  homely  art."— Independent. 


SCR/BNE^'S  'BOOKS  FOR  THE  YOUNG. 
TWO  BOOKS  FOR  BOYS  AND  GIRLS 

Mr.  Beard  has  added  sixty  new  drawings  to  his  "American  Boy's  Handy  Book,"  to 
illustrate  the  new  games,  sports,  and  mechanical  contrivances  which  he  has 
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Both  are  profusely  illustrated  with  hundreds  of  pictures  and  designs. 
THE  AMERICAN  BOY'S  HANDY  BOOK  :  OR,  WHAT  To  Do  AND  How  To 
Do  IT.  By  DANIEL  C.  BEARD.  With  over  360  illustrations  by  the  Author.  One 
volume,  square  8vo,  $2.00. 

"The  book  has  this  great  advantage  over  its  predecessors,  that  most  of  the  games, 
tricks,  and  other  amusements  described  in  it  are  new  It  treats  of  sports  adapted  to- 
all  seasons  of  the  year  ;  it  is  practical,  and  it  is  well  illustrated." — N.  V.  Tribune. 

THE    AMERICAN  GIRL'S  HANDY  BOOK  :   OR,  How  To   AMUSE   YOURSELF 

AND  OTHERS.  By  LENA  and  ADELIA  B.  BEARD.  With  over  500  illustrations  by 
the  Authors.  One  volume,  square  8vo,  $2.00. 

GRACE  GREENWOOD  WROTE  :  — "  It  is  a  treasure  which,  once  possessed,  no  practical 
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JULES  VERNE'S   GREATEST  WORK 

THE  EXPLORATION  OF  THE  WORLD.  The  three  vols.  in  a  set,  $7.50; 
singly,  $2.50. 

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The  Great  Navigators  of  the  XVIIIth  Century.  With  96  full-page  illustrations 
and  nineteen  maps.  8vo,  $2.50. 

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"The  Prince  of  Story  Tellers.'  —London   Times. 

JULES  VERNE'S  STORIES 

Uniform  Illustrated  Edition,  g  vols.,  8vo,  extra  cloth,  with  over  750  full-page  illus- 
uations.  Price,  per  set,  in  a  box,  $17.50.  Sold  also  in  separate  volumes. 
Michael  Strogoff;  or,  the  Courier  of  the  Czar.  $2.00.  A  Floating  City  and 
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terious Island.  $2.50. 


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